Djam Karet (pronounced ‘jam care-RAY) is an Indonesian word that translates loosely as “elastic time”.
Djam Karet was founded in 1984 by guitarists Gayle Ellett and Mike Henderson, bassist Henry J. Osborne, and drummer Chuck Oken, Jr., and continue making new music even to this day, 33 years later! So far … they have released 18 full-length albums, including the newest release ‘Sonic Celluloid’ (as well as an additional 24 minor releases and EPs and compilations, see the discography).
Compared by the press with King Crimson, Pink Floyd, The Grateful Dead, Ozric Tentacles and Porcupine Tree, they are credited with breathing new life into progressive rock, leading the way to the genre’s future growth. The California-based instrumental group has often been called America’s greatest undiscovered band.
To my ears this most inventive of bands has always been a psychedelic instrumental sounding board and their musical ideas have always expanded and evolved to give the listener a real Smörgåsbord of acoustic delights. When Gayle asked me if I would be interested in reviewing ‘Sonic Celluloid’ it was a definite no-brainer!
Sonic Celluloid includes all four founding members of Djam Karet: Chuck Okenjr, Henry Osborne, Mike Henderson, and Gayle Ellett, as well as Aaron Kenyon and Mike Murray. All six play (to varying degrees) on the new album. Everyone contributed as much or as little as they wanted to, with the huge bulk of the work being done mostly by Ellett and Oken.
This new release is as cinematic as they come, little musical-movies running in your mind as you listen to the tracks, opener Saul Says So has a really electronic, 70’s sci-fi feel running throughout. Quite dark and moody in style at the start, it has you on the edge of your seat before it opens up into something akin to a psychedelic revelation, only one that is experienced in a supremely leisurely fashion. It seems to float across your synapses, leaving a gentle memory everywhere where the intricate guitar playing touches your mind. Forced Perspective takes that soundscape and leads it on a convoluted, meandering journey with a Southern California vibe, edgy drums, funky bass and super smooth electronica transport you to vast landscapes of sound in your mind. There’s more of that psychedelia that I come to expect from this exceedingly expressive band, I just close my eyes and let the music wash over me. It brings to mind independent art movie soundtracks, cerebral music for the connoisseur.
The muted classical music inspired intro to Long Shot makes the hair stand up on the back of my neck. Subdued minimalistic synths bring to mind Jean-Michel Jarre and even a touch of early Kraftwerk to the 70’s nostalgia reunion that is going on in my mind. I begin to think of films like ‘Invasion of the Body Snatchers’ as the track evolves into a kind of Prog inspired sci-fi melodrama. It really is an intricate sepia-tinged cinematic delight. No Narration Needed starts with a full-on free form jazz trumpet before the music takes on a more suspenseful tone layered with atmospheric keyboards and electronica. There’s a timeless aura to this track, like a primordial beast that has lived across epochs and never notices the short lived lives of the pitiful humans who inhabit its planet. A medieval sounding guitar and flute then punctuate the stillness to add a layer of calm and collection. This is a track that engenders meditation and reflection and has dignity and character at its core. There are some great titles to the tracks on this release, Numerous Mechanical Circles being one of them and it is a musical composition that seems to grow around you, the flute sounds and electronic synthesisers forming a symbiosis with an almost alien quality to it. It moves across your mind in a slow but sure manner, all the time in the world to achieve its purpose. I can sense a slight apprehension in the occasionally caustic keyboards and the hesitant voice you hear in the background has a spooky, mystical ambience to it, it is disturbing but in a very enjoyable way.
The sounds of waves and seabirds opens Oceanside Exterior, a rhythmic and meditative piece of music that flows through space and time and engenders images in your mind of powerful oceans braking on immovable rocks, time and space standing still against the majesty of nature. This is music as an elemental force but one that has no need to be brash and in your face. The incredibly laid back guitar playing is utterly addictive and is best experienced through a pair of high-end headphones with a great quality glass of wine in your hand. 70’s synths come back strongly on Au Revoir Au Reve, a strong sentimental note can be felt all over this wistful track. Dreamy and fanciful with a Gallic undertone, you could be walking the streets of 1950’s Paris, a suavely dressed detective in the seedy underbelly of this great city. The plaintive guitar is full of angst, perhaps railing against an unsolved crime, who knows but you feel the pain. A masterful piece of music that, once again, has your furtive mind working overtime.
Pink Floyd guitar notes are very evident at the opening of Flashback, a more hard-edged track that has an incredible depth to it, like it has survived eons in the primordial soup of creation. It seems to be treading water, awaiting what, we don’t know. There is a timeless grandeur and stature to every note, especially when the powerfully cultured guitar breaks out. The synths are the stage on which Gayle’s fiery, blues infused guitar takes centre stage. Lower has a post-rock gravity to it, the elegant keyboards glide around you as the mournful guitar tells its seemingly grief stricken tale. A soulfully forlorn piece of music that propagates a sombreness deep in your heart and soul and moves you inside. Another excellently titled track closes out the album, The Denouement Device is music that stimulates a sonic journey for your body and soul, music that will have differing effects on different people. Intense and thought provoking, a wide-ranging and all-encompassing sound that fills your entire being with a feeling of wonderment and lets you see things with a childlike innocence. Genuine, contemplative and thoughtful yet it treats you with kid gloves as it strips you of any pre-conceived ideas and back to your bare soul.
‘Sonic Celluloid’ is yet another triumph for this ever inventive band. An intricate instrumental tour-de-force that takes the listener on a cinematic journey through ever-evolving soundscapes engendered in their own mind. Djam Karet are the masters of cerebral, intelligent music for the erudite listener and have delivered a superlative musical odyssey once again.
Music was always intended to be heard live, that’s how it started. There were no recording devices when the first minstrels and troubadours travelled far and wide singing their stories of incredible deeds and perhaps slightly embellishing them. It was passed by word of mouth and would be centuries before waxed discs, vinyl records, compact discs and digital files were even thought of.
Therefore, to me, live music is music in its natural form and the energy of a live gig has to felt to be believed. I suppose the next best thing to being there is to watch a good quality recording of that concert or show and I think that is why live DVDs and Blu-rays are as popular as they are nowadays.
I saw The Franck Carducci Band live at the Masquerade Festival last December and they were fantastic, a live experience like no other in fact and I’d had chats with Franck about him releasing a live DVD which finally came to fruition with the ‘Tearing The Tour Apart’ live DVD that was released towards the end of 2016 and which Franck graciously gave me a copy to review.
The live DVD was recorded at the Climax Club Legend in November 2015 and features tracks from Franck’s first two albums ‘Oddity’ (2011) and ‘Torn Apart’ (2015).
Pop the DVD in your player and the title menu appears asking you to choose 5.1 sound, stereo sound or pick a track. I got straight in with stereo and the visuals begin, instantly recognisable as being the work of Olivier and introducing the Franck Carducci Band – Franck Carducci (bass, 12 string guitar, vocals), Christophe Obadia (electric guitar, bass pedals, didgeridoo, vocals), Olivier Castan (keyboards, vocals), Mathieu Spaeter (6 and 12 string guitars, vocals), Mary Reynaud (rainstick, tambourine, vocals) and special guest Jimmy Pallagrosi (drums).
The fantastic entertainment begins with an utterly stunning version of the crowd favourite Torn Apart. Franck has always stated his appreciation of the visual art form and you are plunged straight into brilliant musical theatre with a stunning light show and incredible music. The camera work is exemplary and you really feel as if you’ve been transported right into the concert, especially with the close ups of each musician. The high energy blues/rock work out of the track comes across perfectly, you feel the fierce passion of the guitar solos and the funky edge to Olivier’s keyboards and Jimmy Pallagrosi is a modern day version of Animal from The Muppets. The appreciative crowd soak it all and give some serious applause. The elfin-like Mary Reynaud makes her first appearance on the edgey and thoughtful Closer To Irreversible and you can feel the heartfelt pathos and fervent melancholy blues coming across, once again, these musicians really know how to put on a show and this is one that has been honed into a well oiled machine but also one that never loses that required passion you want from a great live performance. Feel the guitar literally weep and the keyboards bleed sincerity as the notes literally leap from the screen and leave you transfixed. The thespian feel continues with the wonderfully melodramatic prog-fest that is Artificial Paradises. With the tense and dramtic keyboard playing of Olivier being central to the opening, the camera focused on his intense expression, you are drawn into the scene completely. The scene opens up with Franck and Mary the focus of attention. This is one song where inhibitions are left at home, a wonderfully thrilling and vivid display of musical excellence and portrayal by the singers. Almost like a three act play, you are caught on every note and nuance when the camera closes in on each performer.
Let’s change the intensity and ramp it up with the schizophrenic heavy rock of Mr Hyde & Dr. Jekyll, a real throwback to the excesses of the late 1970’s. A really energetic rock out that is as infectious as it is utterly enjoyable. You really want to be there in font of the stage headbanging and rocking away to the ferocious guitar work and Franck’s great frontman performance. Franck introduces Articifial Love as ‘something more psychedelic’ and he’s not wrong. The music, performance and light show is all a little tripped out and drags you willingly into the mood. Mary and Franck are quite transfixing front of stage as they deliver their psychotropic performance, I’ve said it once and i’ll say it again, it really is musical theatre and, to me, is how this music is at its best. At this point things get a bit more interesting with Mathieu and Olivier giving a really spaced out guitar and keyboard combo before Mary and Christophe ultimately blow your mind with a duel didgeridoo display that is as theatric as anything that has gone before and actually made the hairs stand up on the back of my neck, quite spooky and eerie actually. Next we have what can only be described as ‘Star Wars with swords’, the Achilles Sword Fight where Olivier and Christophe do (choreographed battle) to a soundtrack not too dissimilar from The Imperial March all bathed in an ominously ghostly red glow. This segues immediately into another leviathan prog track Achilles. An engrossing opening perfectly captured by the camera as Franck gets his twin necked bass out to play. The quality on this DVD is excellent, both in sound and picture, the close ups are sharply in focus and there is a smooth transition between shots, no jerking or jumping around. There’s a Genesis feel to the song both in the music and the vocal delivery and this is more a music performance than a theatrical one this time, just focus on the excellence of the performers and the blazing guitar solo from Mathieu Spaeter, music at its purest and played with skill and aplomb.
A Brief Tale Of Time brings a science fiction story to life and an allegorical tale of how life isn’t always greener on the other side (or in the future). A powerful central performance from Franck is the core to this track, proper progressive rock both in content and delivery. It’s a slow burner to begin with, wistful and dreamy with the lights down low and the shadowy musicians playing in the twilight, the skill and dexterity is the main focus here. Things get a bit more upbeat when Mary joins Franck at the front of the stage, a winsome musical journey which leaves a contemplative footnote as it wanders across your mind, the visuals enforcing this feeling. Some Wakeman-like keyboard ingenuity and finesse from Olivier ramps up the prog quotient even more and Franck’s edgy bass line joins the party as the stage is awash with a rainbow of light and you are treated to something that I’m sure even ELP would have been proud of. Add in the great little video (made entirely out of animated cartoon drawings by Olivier ‘Casoli’ Castan) and you couldn’t really ask for more. The last song (before encore) is The Last Oddity (from ‘Oddity’ funnily enough), another superb twelve minutes of progressive rock fused with Gallic flair. The musicians own the stage and Mary and Franck are the centre of attention with their earnest and fervent vocal performances. The camera wanders around the stage picking out the individual musicians in their reverie as this intricate and dreamlike song is played out before you. When the camera pans out to the audience you can see their rapt attention as they focus on every note and word. Christophe delivers a punky, truncated riff and the fuse is lit, get ready for the explosion! Off we go on a convoluted rock out, Mary’s waif like figure throwing herself around as things get altogether more funky and 70’s inspired, where’s my flares man??!! The atmosphere comes across as utterly electric as Franck decides to go for a wander off into the surprised audience, now where’s he gone? The trippy and psychedelic aura pervades all and leaves you wondering what illegal substance was slipped into your coffee as these musical artists deliver a completely demonstrative spectacle, the highlight being the four-armed guitar playing performed by Christophe and Mathieu, you’ve got to see it to believe it, pure theatre! The band move straight into a spine-tingling four minute sequence from Genesis’‘Supper’s Ready’, nostalgia for the fans deep at its heart with Franck, as animated as ever, delivering a great homage to Peter Gabriel and Mathieu delivering a superbly emotive guitar piece. Franck goes round doing the obligatory band introduction to the audience and things come to a close, or do they?
Well there’s always got to be an encore hasn’t there? The camera sweeps around the incredibly appreciative, lively and passionate audience who have lapped up everything laid before them and then back to the stage. Franck is stood there with his Mad Hatter’s top hat on and we are going to be treated to The Franck Carducci Band’s way out version of Alice in Wonderland, Alice’s Eerie Dream. This is pure musical theatrics at their most extreme, almost like a circus sideshow from the 1930’s, titillating and thoroughly enjoyable and you can’t take your eyes of it. It’s an absolute blast from start to finish with its blues-rock roots and vivid visuals. Mary arrives as a very provocative Alice indeed and gives a real sensuous feeling to proceedings. Just let yourself go with the flow and enjoy this fourteen minutes of unabashed entertainment, guitar solos fly by, Jimmy is as ebullient as ever behind the drums and you just know that everybody is enjoying themselves to the utmost. As the song and performance come to a close you know they have left nothing behind and given everything of themselves during this thrilling, engrossing and captivating show.
This is how music should be consumed, the high energy performances of all the musicians are utterly addictive and leave you wanting more. There’s a primal force at play here and it comes across in every word and note as if the artists are giving something of themselves to the audience. Skillfully filmed with a superb light show and stunning sound, ‘Tearing The Tour Apart’ is a musical tour-de-force and should be on anybody’s wish list!
And just to spice things up, Franck has told me that there will definitely be a Blu-ray release of this wonderful gig.
The very best songwriters weave incredible stories via their music and lyrics, songs that are immersive, enthralling and compelling in equal measure. You can lose yourself in these mini sagas of life, love, death, hardship and happiness and forget about the real world, if only for a short while.
I’ve been fascinated by music for a lot of years now and that is all kinds of music, this webblog may be called Progradar but it is truly meant for any kind of music that deserves a place on here.
The extraordinary skills of Scottish Folk Singer/Songwriter Findlay Napier were first brought to my attention by my great friend Iain Sloan, a talented guitarist well known to fans of Abel Ganz and The Wynntown Marshals but who has also performed live with Findlay before.
Findlay has a new album in the works but I was drawn to his previous releases ‘Very Interesting Persons’ and its companion piece ‘Very Interesting Extras’ due to the stories of real life charactersand the trials and tribulations of their lives.
Here Findlay gives us some background to the project and how it got off the ground,
“‘So tell me about VIP?’
That’s what every journalist and broadcaster has asked me
first and the problem was, and still is, where to start.
I’m going to start with Simon Thoumire. Simon asked me
what I was doing, what I was really doing, with my music
career. With my head in my hands my part answer, part cry
for help was an overly honest ‘I don’t know anymore’.
Simon helped me apply for Creative Scotland’s Advanced
Mentoring funding and Boo Hewerdine agreed to be my
mentor. Boo and I began writing in March 2013 and soon
came upon the idea of writing songs about people who
have led interesting lives. We fitted in sessions between his
hectic touring schedule, my chaotic calendar and the birth
of my daughter Lucy. By March 2014 we had written and
recorded the fifteen songs in this volume.”
Musicians on ‘Very Interesting Persons’:
Findlay Napier– Lead vocals, guitar, ukulele Boo Hewerdine– Guitar, harmonium, ukulele, vocals Gustaf Ljunggren– Lap steel, mando-guitar, woodwind, piano, percussion, backing vocals Hamish Napier– Piano, backing vocals Roy Dods– Percussion, Radiator Gillian Frame– Backing vocals Louis Abbott– Backing vocals
Boo, Gustaf and Gillian also joined Findlay on ‘Very Interesting Extras’.
The first part of the review takes in the ten tracks that make-up ‘Very Interesting Persons’.
‘Hedy Lamarr Been here before Can you take anymore?’
“I came across Hedy Lamarr by accident. I was watching a
documentary on BBC4 about TV Smith & The Adverts
and their bass player, Gaye Advert, was described as
looking like Hedy Lamarr. Rather than waiting for the
library to open or calling an expert on films of the 1940s
I looked her up on Wikipedia. I scribbled her name and
‘actress…invented Wi-Fi… many husbands,’ in my notebook
and forgot about her till my first writing session with Boo.”
A plaintive tune with a wistful nostalgia at its heart, Hedy Lamarr is a pared back song of delicate beauty. The vocals are delivered perfectly, the male/female harmonies making the hairs stand up on the back of your neck with their near perfection. A winsome and charming tale of a screen beauty that nobody really knew. It is almost heartbreaking in its emotive delivery.
‘George C Parker was the man who sold New York To out-of-towner millionaires who fell for his sweet talk They’d pay for Lady Liberty they bought his every line He must have sold the Brooklyn Bridge at least a hundred times’
“I’d been planning a song about a con man for a while. For one of our writing sessions I looked up some famous confidence tricksters. George C Parker was one of the mostinteresting of an extremely interesting bunch. His con was
to sell famous New York landmarks, usually the Brooklyn Bridge, to immigrants who had just arrived in America.”
The Man Who Sold New York is a powerful tale of morality driven along by a blues guitar and Findlay’s gritty Glasgow drawl. This song is one of the first that really stood out to me when I heard this album. There’s a metronomic beat that holds you in thrall and a really tasty guitar tone that works on every level. It gives this track a real 1930’s Americana sound to it, the guitar playing on the outro is outrageously good.
‘Poor Mickey Mantle pride of the Yankees I had a card that you’d signed The end of America’s childhood An idol in decline’
“I found that flicking through Tumblr was a really great way
to find inspiring images and stories.
John Dominis’ 1965 photo inspired this song . It appeared
on the Time Magazine Tumblr page. The original headline
for the photo read ‘Twilight of the Idol: A Portrait of
Mickey Mantle in Decline’.”
A heartfelt song about the decline of a baseball great. Stripped right back to mainly vocals and piano, An Idol In Decline has a haunting grace to it. The wistful melancholia that runs through the track really does bring this story starkly into focus and Findlay’s softly delivered vocal is truly earnest and sincere in its delivery. There’s a sad resignation that things won’t ever be the same again, a look back to sepia tinged better days as it comes to a gentle close.
‘Eddie Banjo tramping in the rain Eddie Banjo picking on a biscuit tin Who’s good for a handout Where’s good for a feed Who’s good for a hard luck story Where’s good for a sleep’
“My Dad told me about a tramp that used to live in a cave
outside Wick. He would walk the streets, playing a banjo
made out of a biscuit tin, singing ‘You Are My Sunshine’.
The tramp’s real name was Teddy Banjo. When I called my
Dad to remind me of the story he was in an airport and I
couldn’t hear him properly. By the time he got back we had
recorded the song and it was too late to change the name.”
Eddy Banjo is quite an upbeat little ditty, a tale of a hometown tramp that everybody knew. It’s a pure folk track that has you toe-tapping and dancing on the spot and Findlay gives the vocals the full local inflection. Again the stripped back feel of the song really invests it with a touch of joie de vivre and the perfect segue into the ‘You Are My Sunshine’ section had me smiling.
‘What a shame about George Well he skipped class again He’s out on the street Singing songs to get paid’
“The first time I went to Canada I taught at the Sunshine
Coast Fiddle School alongside a banjo player called Chris
Coole. We sat up at night drinking, playing tunes and
singing. He kept singing amazing songs by a singer called
George Jones.
I was hooked and as soon as I got to Vancouver I bought
everything I could find by George Jones. I drove the rest
of the band mad listening to him in the van.”
This country song tells the story of famous singer George Jones and how his life echoed his art. Laid back and mournful, it has a feeling of regret running throughout it. Findlay tells the tale with respect and yet holds nothing back and the music mirrors the repentance and sorrow perfectly. A country song for a tormented country singer who finally hung up his cowboy boots.
‘Left behind the rising sun Here until the war is won You said that you’d come back for me’
“‘Words are falling from the sky’ refers to the leaflets that
were dropped to try and convince Hirō Onoda that it was
time to surrender. It is amazing that he lasted so long.
Onoda’s commanding officer had ordered him not to
surrender until he returned. The only way Onoda would
agree to a surrender was if the authorities brought his
former commanding officer, now a bookseller, back to
the island.”
I really love the treatment that Findlay gives of the well known story of the Japanese soldier who didn’t realise that the war had ended. Rising Sun treats Onada with the reverence he deserved and the simple guitar, haunting flute and plaintive, wistful vocals fit the mood perfectly. There’s an air of this song just floating along in the breeze, ethereal refined and insubstantial, an exquisite piece of songcraft.
‘No one else there saw it Just Gabriel as he fell Jimmy’s ghost, the man he killed As the keeper rang the bell’
“The Saturday before the last day of recording Louis Abbott
and I spent the day recording backing vocals for VIP. I told
him that I needed one more song. Louis suggested that
boxers probably lead interesting lives. We jumped onto the
internet and it wasn’t long before we stumbled upon the
story of Gabriel Ruelas and Jimmy Garcia.”
Sweet Science is a prime example of recounting real life stories through song. With a big ‘Heavy-folk’ feel to it throughout from the driven guitar and insistent vocals, you can almost feel like you’ve been dropped right in the middle of a brutal boxing match. Listen to the excellent guitar work and Findlay’s intonation of every word, a modern day troubadour spreading the news across the nation. When songs are this good, you don’t need anything more complicated than a guitar and a superb voice.
‘Cutting the cloth and pushing in pins Work never ends it just begins Smoke rises slow and the soot it falls Valentina’s high above us all’
“‘Valentina’, like ‘Idol in Decline’, was another Tumblr find.
I was drawn to a photo of a Russian propaganda poster
featuring Valentina wearing a space suit. I looked up her
story on Wikipedia and the song sprung from there.
Valentina trained to be a cosmonaut by correspondence
course and by enrolling in a local parachute school. She
funded her studies by working in a uniform factory.”
Valentina is a winsome song, all grace and refinement with the delicate acoustic guitar and Findlay’s graceful vocals bestowing an air of sepia tinged summer days that never end to this fine-grained tale. You have to take the time to listen to the lyrics as you let the music wash over you, leaving you calm and collected and with a feeling that all is well with the world.
‘Put it all on a piebald bow-legged mare She just backed off put her tail up in the air I hung my head in shame There’s only one sure thing Gonna lose my queen to the sport of kings’
“This came from the second Ely writing session. It was the
day after Sherburn and Napier’s first festival outing at Ely
Folk Festival. On the way down to Ely I read The Guardian
obituary of Sir Henry Cecil and that’s what inspired this
tale of gambling and womanizing. I stress that this song is
only loosely based on his life.”
Let’s head back to early 1900’s America for the pared back, sparse country blues, guitar-picking feel to The Sport Of Kings. The lap-steel guitar is brilliant and gives the song that huge nostalgic feel of old-school saloons and the depression era United States. I found myself reminiscing about the great Bugsy Malone film from the mid 70’s (yes, I am that old to have seen it at the cinema) and gangsters and their molls, an amusing look back at the life of one of horse racing’s greats transported to a whole different era.
‘I know you’ve heard this all before I cannot tell a lie Of how I flew with aces high Young men in the war But there is nothing you can do When the bugle calls You don’t feel quite so brave somehow When an angel falls’
“The more I read about Jimmie Angel the wilder his story
becomes. There’s still time for someone to make the film.
We squeezed his life into three sections but each verse
could have been expanded into a VIP song on its own.
One of the first recordings of this song, from Boo’s back
garden, contains a marvellous moment when a light
aeroplane passes overhead.”
When I was a boy I was fascinated by the story of how Jimmy Angel crashed his plane into a waterfall in Venezuala thereby finding the highest waterfall in the wrorld and having his name bestowed upon it so I was really interested in hearing this song. Angel Falls is a tribute the man who was larger than life, a beautiful piece of emotive songwriting and really brings a lump to your throat. The perfectly simple and uncomplicated music brings pathos to the song and Findlay’s plaintive vocal is delivered with poignant sentiment, a fitting tribute to a man who bestrode the world he lived in.
Five extra tracks were released on the companion ‘Very Interesting Extras’, two months after the original album…
‘Suspended from the gods you spin The rope’s about to break Bound in danger locked and chained How will you escape?’
“Although the song is now about Harry Houdini, when
I started it I was using escape artist imagery to view the
troubled life of Amy Winehouse: the idea of giving the
audience something astounding, beautiful and personal
and then the media machine says ‘Okay. That’s great.
What’s next? We want more and bigger and better and
more and…’
The gentle banjo and piano give How Will You Escape an old school Americana/Country feel of the wistful old days, regret and fifteen minutes of fame that never lasts. The vocals are bitter sweet and match the frailness of the music perfectly. It is a graceful track but one which hides much pain and remorse and leaves you feeling slightly sad and sombre.
‘Princess Rosanna graceful and tall Was she pushed or did she fall Didn’t make the front page just an inch or two inside Princess Rosanna drowned in the Clyde’
“I like a snappy title…
This is another running song. I wrote it while running
down the side of the Clyde between Glasgow Green and
Pacific Quay.
Someone had spray painted ‘RIP Princess Rosanna’ in
foot-high luminous pink letters underneath Jamaica St
Bridge. I’ve never really been sure of who Rosanna is. By
the time I went back to photograph the graffiti the City
Council had removed it and all that was left was a faded
RIP and the letter ‘R’.”
A proper singer/songwriter track, Princess Rosanna Drowned in the Clyde is one man and his guitar that has a feel of Richard Thompson or Steven Stills about it. The powerful strumming of the acoustic guitar and Findlay’s dynamic vocal inject it with realism. It gets under your skin, the way this musician can conjure up a story from graffiti written on a bridge, a believable tale of a life lost is incredible and leaves you reflective and thoughtful as it closes out.
‘So Des what’s with the personalized plate What’s with the paint job, the alloys, on this council estate So Des is that number, which begins 52, A badge for the crisis you’re driving into’
“I wrote the words to this while I was out running in the
East End of Glasgow.
52DES was a real number plate of a real dark blue BMW
M sport. I had run up over Haghill, down over Duke Street
and west along the Gallowgate and had seen the car parked
outside a dodgy looking tenement building.
The last line came from every heist movie I have ever
watched. There’s always some idiot who flashes their illgotten
gains too soon. Like Lester Freamon says in The
Wire, ‘Follow the money.’”
There’s a real feel of Oasis’ Half The World Away throughout 52Des, a sort of ‘homegrown’ track where Findlay’s inventive songwriting mind weaves a tale from nothing more than a number plate on a flash BMW parked outside a’dodgy tenement building’. Unhurried and laid back, it has a sarcastic humour at its core but is delivered in a sweet, sugar-coated manner. The elegantly strummed acoustic guitar and Findlay’s languid vocal add a nonchalant touch to this great little song.
‘After the last bell rings Will I be on my own Sleeping beneath the stars Nowhere to call home A million lights above me When all I want is one Will I be on my own After the last bell rings’
“‘After the Last Bell Rings’ was inspired by two things. The
spark of the idea was a joke Chris Sherburn used to tell at
Last Night Fun gigs. Just as Nick Scott was about to play a
beautiful, and long, slow air on the uilleann pipes, Chris
would invite the audience to stack their chairs quietly
during the performance, supposedly to save time at the
end of the night.
The rest of the song is based round the end of every Sunday
Funday at the open mic night in Bar Bloc, Glasgow. I used
to run the night there with Louis Abbott and Jamie Sturt.
After twelve hours of music and drinking the musicians of
Glasgow still had the energy to keep partying into the early
hours of Monday morning.”
A proper slice of Americana inspired country music, After The Last Bell Rings leaves you feeling that you really could be in a saloon bar in Texas listening to some good ol’ boys playing this fantastic song. The guitars are note perfect and Findlay has an easygoing, insouciant tone to his carefree vocals. A song for lazy days and drinking whiskey, the lap-steel solo is jaw-droppingly good, breathe in the tobacco soaked atmosphere of the old days and just enjoy brilliant music delivered in a simple but impressive fashion.
‘I don’t why I never grew The world too much for me Fell in with clowns and acrobats Nothing else to be I saw the limelight of New York I saw the Golden Mile A life as memorabilia I was here to make you smile’
“Film maker Jono McLeod, one of the major pledgers for
the VIP project, asked Boo and I to write him a song. The
song was to be about his Uncle, an actor,comedian and
Very Interesting Person called Jimmy Mac.”
Songs about true life always seem to throw up the most interesting stories and this elegantly delivered tale of Jimmy Mac’s marriage to a circus midget called Winnie Yelland and the media circus that surrounded it is no exception. Brilliant delivered mainly using a simple banjo and Findlay’s cultured vocal, it has a smooth class about it that exudes from every line. When the violin joins in it takes on a touch of the gypsey/traveller music that you would have heard from travelling Circus performers in the early decades of the 20th Century. The charming chorus really lingers on your mind, I found my self singing it for hours after. The addition of a harmonium is just genius and it is that instrument that brings the song, and this review to a most satisfying end.
I’ve found that over the last few months I’ve really taken a liking to the Scottish folk and singer/songwriter scene and , to me, Findlay Napier is right there at the vanguard of these new artists that are coming to the fore. Brilliantly composed songs with humour and pathos, written about people and places that this gifted musician knows and appreciates. You almost feel humbled that he wants to share them with you and I can’t wait for the next chapter in his tales of life and love in Scotland and afar.
‘Very Interesting Persons’ was released on 1st December 2015 and you can buy it from bandcamp here:
Formed in 2010 by former members of Drift Effect and Morning Society, Meridian Incident (comprised of Ray Smart, Marc Hedman-Dennis, Adam Schmid and Tom Trenka) is a progressive rock group with a longstanding history of playing together on some of the Twin Cities’ most prominent stages. With a sound reminicent of A Perfect Circle, Tool, Porcupine Tree and a touch of Pink Floyd, MI is a tour-de-force of compositional and technical artistry.
I first connected with Meridian Incident through the positive power of social media. The band had shared a sponsored video for the track Yellow Wings on Facebook and I had a listen and thought to myself that I’d heard something just a bit special. I contacted the band and then things went on from there with me receiving their new album ‘Istology’ for review.
A concept album about an intriguing hero or heroine that lives in all of us, the forthcoming ‘Istology’ is based on a screen play (written by Ray Smart) that tells the story of Janey, a girl tormented by abuse as a child who embarks on an unbeaten path of self-discovery. Subtly including iconic worldwide spiritual imagery, ‘Istology’ follows Janey through a journey plagued by shadows of self-destruction and loathing, to a place of understanding and acceptance of self. The album tells Janey’s story as she evolves through a remarkable transformation: learning to overcome, learning to love, and finally learning to trust.
So, a complex story then but would the music actually be any good? Read on and find out…
Opening track Scene 13 is very much a scene setter with its laid back and measured introduction that you feel is just building up to something much more imposing. Layers get added to increase the complexity and the vocals begin, weaving their story into your psyche. Ray has a really good voice, complex and full of meaning and uses it to great effect throughout the album. The tension builds more and more as the tempo increases slightly and Ray gets more passion and even a hint of menace in his voice. The song begins to open up with Adam’s powerful drums and Marc hits us with some intense guitar work, Tom’s bass driving the whole thing. A really intense musical workout to get your synapses sparking.
Title track Istology opens with 90’s grunge inspired riffing and drums before Ray channels his inner Eddie Vedder and we are treated to a really classy track with an abundance of energy and dynamism. I was a huge Pearl Jam fan back in the day and this song reminds me a lot of those times with the lighter calmer verses being accompanied by the heavier chorus and that really addictive riffing. There’s a nice break in the middle where Marc gets to show off his technique to the full before some punchy riffage gets us back on course. It’s like 90’s grunge brought bang up to date and, to my ears anyway, works extremely well.
Yellow Wings is the song that got me interested in this band in the first place, I love its heartfelt lyrics and Ray’s voice delivers perfectly. An ardent track that bleeds sincerity, especially on the fervent and moving chorus. There’s a staccato backbeat running throughout, delivered by guitar and drums to give the song and edgy feel at times before the emotionally poignant chorus delivers its knockout blow and Marc hits us with a solo utterly infused with pathos and sentiment. Listening to the track while I’m writing this review just brings back the goosebumps I felt on first listen, a truly powerful and emotive song typified by the expressive guitar and vocals.
Let’s take a more mellow and benign route with In The Wake Of My Own, a laid back and chilled song that still has a lot of meaning and poignance underneath the surface. There is wistful feel to the music and Ray’s vocal has sentimentality at the core. Think of hazy summer days and sepia tinged nostalgia, a superbly calming influence runs throughout this amiable track and as it comes to a close you feel like a weight has been lifted from your whole being.
The album segues straight into Along The Shore, an intricate drum-led introduction leaves a haunting impression on my mind, the distant voices and vibrating guitars give a persistant edginess and disturbed aura to everything. It’s a restless and uneasy instrumental that leaves questions in your mind.
Where the previous track left an uneasy feeling, When The Tide Carries The Lotus is an utterly relaxing three minutes of instrumental bliss. Piano led, it is like a gently flowing stream finding its own course through your mind. I felt a feeling of beatific serenity fall over me as each note played out and, as it faded out, I was left with a smile on my face and peace in my heart.
Hallowed opens with a subtle guitar tone and the continuously impressive drums leading the way. Ray’s earnest vocals have something of a hazy feel to them. The track continues to meander gently along, tranquil and somewhat bucolic, an elegant piece of music with lasting emotion at its centre. A more serious tone seeps in as the guitar is unleashed with more ferocity and Ray’s vocal soars to join it before Marc let’s loose a powerful, stirring solo that leads to an impassioned close.
Yellow Wings (Reprise) is a more circumspect version of the track, opening in a judicious manner with a staccato riff and Ray’s almost indistinct vocals. The pace is turned down a notch and the sentiment increased to give it a pared back yet stylish feel. The powerful emotion of the original is replaced with something more subtle and considerate without losing any of the intent. There’s a dynamic instrumental section which, though short, injects some authority into proceedings and Ray’s excellent vocal is present and correct as ever. A refined and suggestive version that stands comparison in its own right and I love the way it closes out.
A pensive and somber guitar opens The Mirror Stares Back and Ray’s ominous vocal joins in to give a quite oppressive solemness to the track. It creeps along in a reflective and preoccupied manner leaving you almost mesmerised with the suspense. A clever use of music to affect your mood and immerse you in the storyline. As the volume increases so does the apprehension and tension, almost becoming unbearable before the song comes to a close and the shackles are unlocked.
And we segue straight into the heavy riffing opening to Shadows, the Soothsayer. A quite hypnotic guitar and drums leave you in a trance like state as the short instrumental gets under your skin, insinuating itself into your very being. A high energy, almost manic close-out leaves you breathless.
Alternative and grunge combine to good effect on Echo In The Water. A low key opening very reminiscent of Porcupine Tree in the early days catches your attention with its subtle complexities. There is some great bass playing and the guitar and drums combine to lead the story on as Ray adds nuances to his vocal delivery. A perceptive and probing track that scores on many levels. There’s a great guitar solo full of meaning and significance and the song breaks out into a hard rocking finish that leaves you properly sated.
There’s no break before we rush headlong into Wind Through The Bodhi Leaves, a potently compelling two minutes that just blows you away as it increases in force and demeanour before blowing out like an almighty backdraft and leading in the composed and sedate Mer De Lumieres, the antithesis of the chaos that came before. It calms your fevered brow and lowers your heart rate before we come to the last track on the album.
Wistful and winsome, Diaspora, Under A Red Sky is a sea of calm serenity that just washes over your tortured soul. From the sublime guitars and gentle drums to Ray’s ethereal like vocals, it has an almost ghost-like and intangible feel, like something just out of reach, a musical mirage that teases you with its benign and soothing tranquility. Graceful music and vocals combine to deliver just under five minutes of music that restores and invigorates your very being.
‘Istology’ is a musical drama and journey that ebbs and flows over it’s sixty minutes to leave the listener completely sated. There’s a subtle intelligence at the core of this release and it is delivered by four musicians at the height of their powers. It should be taken in one complete listen to get the full experience and you will come out of the other end an altogether better and happier person for it.
After my review of Tim Bowness’ excellent latest release i got together with the man himself to ask him some probing, journalistic type questions…
1. Your new album ‘Lost In The Ghost Light’ is due to be released 17th February, how would you say this differs from your three previous solo releases?
I think the main difference is that I was working towards fully realising the story, rather than making a Tim Bowness (or No-Man) album.
‘Abandoned Dancehall Dreams’ emerged out of demos I’d written and compiled for a follow-up to ‘Schoolyard Ghosts’. Steven (Wilson) was too busy to commit to a No-Man album so he offered to mix what I came up with. I was forced to make a solo album (or my idea of what a No-Man album could sound like). The reaction to the album was very positive, so I embarked upon making an album that came out of ‘Abandoned Dancehall Dreams’, but accentuated the extremes and what it was I thought was ‘Tim Bowness’. I see ADD and Stupid Things as strongly linked, whereas my debut solo album (‘My Hotel Year’ from 2004) always felt like a patchwork compromise as it comprised offcuts from several separate projects I was working on.
‘Lost In The Ghost Light’ is as much a themed and coherent album as ADD and Stupid Things are, but it sprung entirely from the concept and the music was written to enhance the lyrical themes. In some ways, it’s my version of a Moonshot album!
Because the album deals with someone who made classic ‘Progressive’ music, it gave me an excuse to take the bits of that music that I still love and integrate them into my own music.
2. The album was mixed and mastered by Steven Wilson, how involved were you in the process and who makes the final call on when the album is considered finished?
I make the final call. Basically, I give Steven the material and some instructions and he weaves his audio magic. All creative decisions regarding arrangements and how the album should sound and flow are mine though. Steven’s great to work with in that he’s very quick, very good and knows what I like / want.
3. We have both agreed that there is a definitive ‘Tim Bowness’ sound, would you say this has been there from the start or developed over the years and the different releases?
I think that my ‘signature’ vocal approach and sound has been there since the early days of No-Man. It’s a blessing and a curse in that it’s an instant identifier, but one that’s strong in a way that people either love or hate.
I would say that vocally and lyrically I’ve subtly developed over the years, while the contexts I sing over have often frequently changed.
4. Where did the ideas for the album come from and how do you go about writing the songs?
As I say in the Album Notes for the album, I’ve always been fascinated by the iron grip holds over fans and musicians alike, and how supposedly adolescent obsession can become a lifetime’s prison sentence for some of us.
It‘s a requiem for a type of music, a type of musician and a particular form of music production (the album).
I was interested to know how the fact that people don’t financially or culturally value music as much as they did in earlier eras impacts on musicians who grew out of the 1960s revolution (where music was vitally important on so many levels and in so many sectors of society). Also, I’m interested to know how playing to an older audience just wanting ‘the hits’ affects a musician who once believed they could change the world with their music. Of course, some of my own fears are wrapped up in the story.
5. Do you have a personal favourite track on the album (mine is ‘Worlds of Yesterday’) or is that like asking a parent which of their children is the favourite?
In this case, it’s more difficult than most, because I think it works as a whole album as much as anything else. I suppose my favourites would be Worlds Of Yesterday because of the solos by Bruce Soord and Kit Watkins, and You Wanted To Be Seen because of its unpredictable shift. I also really like Bruce’s solo at the end of You’ll Be The Silence and Ian Anderson’s stunning contribution to Distant Summers.
6. When you finish an album is it consigned to the past as you move on to the next project or are they more than just musical compositions to you?
They are more in that I’m completely obsessive and immersed in my albums when making them and some of those albums remain very close to me. That said, I do tend to immerse myself in a project, and once it’s out listen to the official release all the way through on headphones and then move on to the next obsession/album.
7. Do you prefer the process of making a solo album to collaborations like No-Man?
I enjoy both. I really like seeing where I can take my music as a solo artist, but I also like the collaborative aspects of No-Man, Memories Of Machines, Bowness/Chilvers and other projects. Alternating between both works because it means there’s a sense of constant movement, rather being stuck in the same groove.
8. How did you come to sign with InsideOut for your solo releases?
I was really lucky that a few labels liked the album and wanted to release it. I went with Inside Out because the core people at the company were so enthusiastic. Kscope were very positive about the album, but admitted they wouldn’t do much with it in terms of promotion and that they’d just market it as a No-Man offshoot. By comparison, Inside Out (who have a slightly different audience from Kscope) said they’d put it out, do their best and see what happens. In other words, it was less predetermined. They’re really easy to work with as well as being proactive, so I don’t regret the decision.
9. Your career started in the 1990’s, did you always want to be a musician, how did you get started and who were your early influences?
I was obsessed with music from my early teens onward. Along with books and films, it was a great escape from a pretty miserable adolescence.
I started singing at 18 with a band of friends and by 19 I’d moved on to a band of older musicians in Manchester and was making music of a more ambitious nature.
One of the most influential albums for me when I stated out was Peter Hammill’s Over. It gave me the belief that an audience could get something out of the music I wanted to make. For a couple of years, the Peter Hammill influence was strong, particularly on my singing style.
Outside of that I loved Kate Bush, Gabriel/Genesis, Pink Floyd, King Crimson, David Bowie, The Beatles, Roy Harper,10cc, The Who, Led Zeppelin, Gentle Giant, Yes, Al Stewart and some of the more fashionable bands of my youth such as Associates and Joy Division.
10. What’s different about being an artist now compared to then? Is it harder to get started in the music business nowadays?
Much, much harder (and it was never easy). When I started I could walk up to major DJs (Mark Radcliffe being one) and get my demos played on the likes of Piccadilly Radio. It did take a few years to get a decent deal and a foothold in the industry though.
11. What one piece of advice would you give to up and coming musicians?
Truthfully, I wouldn’t know where to begin as the industry has changed so much over the last two decades.
12. Which other musicians do you listen to now?
Too many to mention. I’m still an avid music listener and purchaser, so over the last few months even, I’d have listened to music old and new from George Gershwin to Arvo Part, Michael Chapman to Leonard Cohen, Opeth to Big Big Train, Elbow to Mark Eitzel, The Strawbs to Labi Siffre and so on.
13. The advent of the internet, streaming downloads etc. Do you think this is a good or a bad thing and why?
It’s both. I still buy physical items and love the intricacy and possibilities of album artwork, but I also use streams to discover music that I may want to buy.
I don’t feel streams encourage detailed listening or an engagement with music / ’the album’ as an art form. On a personal level, the move towards streams (and ‘single’ streams at that) pushes me even more towards making detailed artwork and sonically rich ‘album experiences’.
14. Your specialist online label/store Burning Shed that you run with Pete Morgan is considered a success story, how did you come to set it up?
It developed out of two things, No-Man’s Mail Order company (we sold exclusive releases to a mailing list and it operated from Steven’s and then my house), and an idea I had for a label (to make cost-effective, idealistic side project albums). It evolved into hosting No-Man’s and Porcupine Tree’s online stores and grew via word of mouth from there.
15. Is there one artist you would love to have on your label?
Lots! Elbow, Sigur Ros, Brian Eno, Lindsey Buckingham, Peter Gabriel, Kate Bush, Mark Eitzel, Arvo Part, Camel and dozens of others.
16. Will there be a tour to support the new album?
So far, I have a support slot to Marillion at the UK Marillion Weekend, but nothing else planned . As it worked so well in 2016, I might do some more co-headlines with iamthemorning. Outside of that, it would be great to do a full theatrical production of ‘Lost In The Ghost Light’ if there was interest in it.
17. Which do you prefer, making records or playing those records live?
I enjoy both experiences, but probably prefer the control of the studio environment and the thrill of coming up with something unexpected that inspires me.
18. Finally, what lies ahead for Tim Bowness?
There’s going to be a second Bowness/Chilvers album, which is a continuation of ‘California, Norfolk’ (from 2002) and quite different from ‘Lost In The Ghost Light’. There’ll also be an album with pre-No-Man band Plenty; an arty Electro Pop confection!
I’ve also written material with Kit Watkins and would very much like to follow on from ‘Lost In The Ghost Light’ on a solo level and see if I can take some of the sounds and ideas on the album further.
Ahead of their first ever London show at The Black Heart in Camden on February 8th, I got together with Dream The Electric Sleep‘s Matt Page.
Vocalist and guitarist Matt formed the band with Joey Waters (drums), and Chris Tackett (bass) in Lexington in 2009. After two self-produced, independent releases, “Lost and Gone Forever” (2011) and “Heretics”(2014), Dream the Electric Sleep’s third album, “Beneath the Dark Wide Sky,” marked a clear shift in the band’s songwriting style and sonic quality which Prog Magazine hailed as ‘monumental’.
You formed in 2009, how did you guys get together initially?
Joey, our drummer, and I are cousins and have played together for over 20 years so DTES has been in the making for a while! We played in other projects and kept trying to figure out what we wanted to do with our sound, our direction and the sorts of songs we wanted to write. We heard Chris Tackett was moving to town and he was a in a band we loved (Chum) from many years earlier and he contacted us to see if we wanted to try and put something together. After the first rehearsal we knew it was the sound we had been looking for and DTES started 🙂
Which bands were the early influences on your style of music?
We each have some similar influences but also some very different ones. I think all three of us would agree Pink Floyd and Zeppelin would be the core set that we as a band constantly look back to, but that is really just the tip of the iceberg. I grew up on Rush, Metallica, Tool, U2, Peter Gabriel, Elton John, Tori Amos, Joni Mitchel etc… that was where I came from. Chris was into Swans, The Beatles, Black Sabbath, Queen, and Neurosis and Joey loved all of the above plus Soundgarden, Pantera and Alice in Chains.
And who do you listen to now?
Its all over the map! St. Vincent, Beach Boys, The Life and Times, Gorgoroth, Buried at Sea, Dragged Into Sunlight, Tom Petty, Janis Joplin… no continuity as you can see! We try to let all these things come in and find a place in what we do. It makes this project so much more interesting to see how sounds will collide!
You released your third album “Beneath the Dark Wide Sky” last year, how would you say this record differed from your earlier releases “Lost and Gone Forever” and “Heretics”?
I would say it is more deliberate. It was the first time we worked with a producer, and that was a great experience for us. Nick Raskulinecz was another lens to see the music through and he helped us tighten up the vision we had for the album. The earlier releases are more experimental, which I like and I think we will return to, but this time we wanted more focus to see what that would do to us, our writing, and the final product.
I believe “Beneath The Dark Wide Sky” is about a historical moment in the US called the Dust Bowl? What inspired you to write about this?
“Beneath the Dark Wide Sky” is inspired by photographs taken of the Dust Bowl in the 1930’s by American photographer Dorothea Lange. Lange worked for the United States Works Progress Admiration and hoped her photographs could be used to educate the masses (via photo essays in major news publications and magazines) to the poverty and desperate living conditions of thousands of farming families and migratory workers who lived and worked in the drought-struck American Great Plains. Lange believed photographs had the ability to shine an objective light on issues of social justice and environmental degradation and could be used to persuade and motivate social and political change.
Much of what motivated Lange motivates me as the lyricist of the band. How does art inform the way we understand the world we live in and can it motivate us to challenge and change our assumptions? I am not sure there is an easy correlation, but I am very interested in those who try to bridge the gap between art and life.
Prog Magazine described the album as ‘monumental’, do you actually consider yourselves to be a prog band?
That is a good question. I think progressive music has MANY definitions and we fit some of them but not all of them. I never set out to be in a particular genre and because of that, many influences found their way in. This diversity of sound made it harder to define the band and that pushed us further into the progressive community. That particular community wants music that at its core is difficult to define but also music that is searching for something and I would say we fit that bill. We see ourselves as coming out of the spirit of bands like Floyd or Zeppelin or Peter Gabriel or Queen. Those bands are loved by the progressive community and outside it… that is the space I think we are trying to occupy.
Do you think there has been a resurgence in progressive music over the last couple of years?
I do. I think people are craving substance again in music. They want to hear an artist struggle, a reaching for something beyond their grasp, for artists invested in asking questions, thinking about the world, searching and seeking. I think progressive artists are more likely to be engaged in these frameworks and that is where the resurgence is coming from.
Your gig at the Black Heart is your first ever London gig, how much are you looking forward to it?
It is something we have looked forward to for a long time! Most US bands hope to go meet their supporters in other countries and most of the time it never happens. For us to be able to go to London and meet our supporters face-to-face and shake their hands is a big honor. These are the people that have supported us for years and I want to personally thank them! I just want it to be fun for everyone in the room. Live music is a celebration and that is what I am doing, celebrating that moment together, band and supporters united!
Who are your favourite live artists and what is the best gig you’ve ever been to?
I will speak personally here. For me seeing Roger Waters perform the Wall was a big one as well as Peter Gabriel on the 25th anniversary tour of SO. I know Joey recently went to see Devin Townsend and loved it as well as Ghost.
With the advent of the internet, streaming and illegal downloads is recorded music being devalued and are live performances now the best way of connecting with your fans?
Really our best way of connecting with fans has been the internet and releasing albums in that way. In the US the live market is just terrible. I won’t get into the details, but its tough over here. To be able to reach into other parts of the world so easily, it made it possible for us to build a niche of support within the prog community that is spread out all over the globe. Live performances have been way less effective in getting this project where it is. That being said, I am hopeful we can find a way to utilize live performances to reach more people and this current tour is a test of that. We will see if it yields positive momentum!
Do you consider Dream The Electric Sleep to be mainly a live band or a recording band?
I think we have always wanted to be both but as I said in the last response, the US live market is really anemic and scattered right now, at least for us. Because of this we have spent most of our time writing and recording albums as this seems to have been the most productive thing we can do to move the project forward.
What advice would you give to new up and coming artists?
I would tell any band getting started to see this is a long haul process. Finding ways of building a sustainable project should be high on the list. Progress is made inch by inch.
What’s next for the band?
After the tour its time to write again! I hope to take a little bit of a break to reflect on this project and what it needs to be going forward. We have poured every ounce of extra energy we have into this project and over time, you learn more about what you want out of it.
See Dream The Electric Sleep live at The Black Heart on Wednesday 8th February – Free Admission.
I have been listening to more laid back, contemplative music recently and really enjoyed some great folk music as well but, every now and again, you need something to blow the cobwebs away.
An email came into Progradar Towers from my friend Matt Benton at Hold Tight PR…
“After a two year hiatus, Canadian melodic proggers Slyde are back with their new EP ‘Back Again’. Four tracks of intricate, contrapuntal technical prog-rock, the band’s new release is set to land on February 17. For fans of Haken, Coheed and Cambria, Rush, Dream Theater, etc, Slyde‘s music is driven by the clean vocals of frontman Nathan Da Silva and the powering keyboards of Sarah Westbrook; a beguiling fourpiece with an impressive return to form.”
Being a massive fan of Coheed and Cambria and Haken, that was enough to get me intrigued so I decided to delve into Slyde‘s new four track E.P. ‘Back Again’ and see whether the reality could live up to the promise.
A concept EP, ‘Back Again’ continues to explore the links between environmentalism and the wider world, with a sci-fi twist. Following 2011’s EP ‘Feed The Machine’, which discussed the cyclical pattern of civilization between ‘The Machine’ and ‘The Consciousness’, and 2012’s EP ‘New World Sympathy’, which tackled oil industry and the injustices of mining companies, the new EP ‘Back Again’ traces a similar theme. Lead track Fading centres on the idea of extraterrestrial beings observing Earth and its civilization, but drawing back, due to humanity’s violent and destructive nature. Similarly, the title track Back Againrevolves around the Pale Blue Dot concept and the beauty of our world, which is often overlooked and uncherished by society.
Making up the rest of the band are Alberto Campuzano (bass guitar & backing vocals) and Brendan Soares (drums & backing vocals).
Fading gives no warning and no chance to catch your breath, the riff-heavy opening bars break into tight, if manic, and convoluted keyboard and guitar section before Nathan’s vocals join in and, yes, they do sound a lot like an early Coheed & Cambria but, trust me on this, that is no bad thing. Superb musicianship is at the fore here, just listen to the incredibly intense and intricate short-lived solo that rears up, incandescent and fiery before leaving you with seared eardrums. At times it almost verges on speed metal, such is the breakneck pace but it always has that progressive sensibility at the core. A visceral but incredibly enjoyable listening experience.
A nice 80’s synth inspired intro opens Join The Parade, a track that adds a funky, jazz feeling vibe to the technical wizardry. I really like Nathan Da Silva’s vocal delivery, it has a really unique sound, quite high pitched, that really fits the music. The musicians have turned down the intensity from 10, but only maybe to 8, and the vibe is more relaxed but only like a Tiger is relaxed if you sedate it. Powerful and intense instrumental sections show that this Canadian four piece are ploughing a not inconsiderable furrow with this new E.P. and their prowess is undeniable but what takes it up another notch is the intelligent songwriting which is entirely evident on this impressive track.
A thunderously entertaining song, Divide hoves into view like some elemental behemoth with its forceful and energetic riffs and compelling drumbeats. Like the bastard offspring of a union between early Rush, Haken and Coheed & Cambria it consumes everything before it. The vocals are edgier and more authoritative and the brilliant interplay between keys and twin guitars on the solo in the middle of the track is genius. A track that is immediately accessible but has layers of intricacy, it really does demand repeated listens, just listen to the solemn piano led close out!
The title track is a much more subtle and cultured affair, almost mainstream in its delivery. Back Again is more complex than it would first appear. Insightful lyrics and Nathan’s wistful and contemplative vocal give it a nostalgic feel. The staccato, slightly offbeat rhythm is a nice touch and , as you get further into the song, the music begins to remind me of Iris by The Goo Goo Dolls but with a lot more complexity. This song has layers and layers of impressive multiplicity from the energetic drums to the refined bass playing and it is all held together by the notably imposing guitar playing and Nathan’s signature vocals. A really sophisticated and refined ending to the E.P.
Not just an epic heavy prog-fest, Slyde have delivered an intelligent and compelling 4-track E.P. that hints at much promise to come from this Canadian four piece. It’s on my i-pod for repeated listens and I can see it staying there for some time to come. ‘Back Again’ should be the catalyst that takes this impressive band on the next step to the recognition they truly deserve.
Orenda n. [aw-ren-duh]
1. A supernatural force believed by the Iroquois Indians to be present, in varying degrees, in all objects or persons, and to be the spiritual force by which human accomplishment is attained or accounted for.
“A dormant potential to create exists within all human beings. It unconsciously binds the species at large. Most people just never unlock it. With Our Arms To The Sun examine that precious and potent power on their 2016 full-length concept album, ‘Orenda’. Painting in hues of rock, alternative, and metal, their cinematic sound blankets a curious canvas of Arizona Desert, weaving together a sonic journey to self-actualization for the quartet – Josh Breckenridge (vocals, guitar), Joseph Leary (guitar, programming), Joseph Breckenridge (bass), and John McLucas (drums).”
“Orenda is that hidden power inside all of us,” says Josh. “The character in the album is discovering it. You can’t really transcend your own ego, shadow, or bullshit unless you make a connection with what whatever that obstacle is inside of you, eliminate it, and move past it. That’s what the new music is about.”
One of the great joys of writing about music is following an artist from their early beginnings, fumbling around, learning how to make their music better and more involving and seeing how they progress album on album.
I get a real buzz and satisfaction from seeing some of these artists mature into incredibly talented bands and individuals who create some of the most impressive music to be heard today.
One such band is Arizona’s With Our Arms To The Sun, a quartet who create cinematic experimental music from the middle of nowhere in the Arizona desert. I have been a long time fan and supporter from their first album and have become friends with main man and guitarist Josh Breckenridge, enabling me to get early previews of any new music.
In early 2016, the group retreated to Los Angeles with a batch of demos and began pre-production on what would become ‘Orenda’ with legendary the Melvins founder Buzz Osborne. Josh and his bandmates holed up in a rental house “in the middle of nowhere Arizona” to track the music. They emerged with the 10 songs the comprise the new album.
This powerful band create epic soundscapes through the use of instrumental music but new album ‘Orenda’ sees them take a step into the unknown by adding vocals to the music. Could this be a step too far from what they have become known for or a logical evolution that sees them move to the next level of their career?
The opening track Disdain – Why I Am opens with a suspenseful gusting of wind before a humoungous riff crashes the party and blows any cobwebs from your psyche. Joshes anguished screams outlines the protagonists frustration. There is a real torment in the earnest vocal that follows, punctuated by that ever present riff, big enough to move mountains. The clever touch is the way the whole song just puts the breaks on with some really chilled out, mystical feeling guitar and bass, almost meditative in its delivery. There is a real feeling that this band made the step up to the big leagues with the quality of this song and, for a man who is no fan of growling vocals, I feel they add rather than distract to the whole experience. A pretty impressive opening it must be said.
A quite eerie guitar opens Memory – The Drift and the vocals have a dreamlike quality to them as they gently tread on your mental synapses and lull you into a quiet sense of security. It doesn’t last long as another riff hewn from solid granite blows away the mirage with its intensity. The vocals are more like a rhythmic chanting and give an aura of native mysticism to the song before a raw scream emerges from the depths. The track rolls along like an unstoppable force of nature, punctuated by periods of calm and reflection, allowing you to get your breath back. The vocals begin again, ardent and impassioned, backed by the incredibly powerful rhythm section and the arcane blasts of Josh’s intense guitar work, incredibly compelling music that demands your attention.
After the huge walls of sound that comprised the first two tracks, the mellow and reflective tones of Doorway to Clarity are a complete contrast, like a two minute break to get yourself together and contemplate how much the band have grown and developed with their new sound. It is deliberately thoughtful and a really chilled out piece of music.
First track released from the album Macrocosm – Prometheus relates to the character realising that he’s a piece of something bigger. It opens with a laid back feel as it begins to build. The guitar is expressive in its minimalism, an impression of a wide open space is conveyed by the vocals and music, an infinite blackness punctuated only by the stars. Hold that thought as the guitar takes on a harder, aggressive edge and the vocals become more like a chant, the hypnotic effect of the guitar takes over your mind and you begin to lose yourself in the vagaries of the intricate music. This is quite a demonstrative song, there is meaning and subtle definition in the music and it builds into a really brilliant song that leaves you nodding your head in appreciation. I especially like the way the song settles and closes out with the understated guitar at the core.
(Picture credit Melina Dellamarggio)
There is a real pathos and wistful note to Doorway to Realization, an emotive track and another two minute hiatus of composure. It has touch of 80’s electronica to my mind with the elegantly haunting piano that echoes in your mind, backed by Josh’s stirring vocals.
Considered and deliberate, Apex – 100 Year Dream opens at a leisurely pace. The vocals are low down and full of meaning before that immediately recognisable guitar sound takes over with another sonic powerhouse of a riff. I’ve tried to stay away from the ‘T’ word with this review but I really do get the feeling that these guys are channelling their inner Tool on this album and I say that because I honestly believe that they deserve comparison with bands of that calibre. The incredibly intense instrumental section that follows really does blow your mind and Josh’s vocals take on an angry edge. The elaborate and sophisticated music moves between the all encompassing dark heavy parts and the freedom of the lighter sections to create something totally immersive.
A native chant opens The War – Light The Shadows and leaves you feeling like you are in the middle of a sci-fi movie. There is a subtle build up as the song progresses, the hushed vocals combining with the understated music to create an air of mystery. This erupts into an authoritarian mantra with a potent riff driving it on. The music stops and the dominant chant continues to great effect before the all-powerful music takes over, the drums a particular highlight. This is a commanding and influential track that really delivers on the promise and just takes a step back into calmness and composure to close out stylishly.
The third quiet oasis ‘doorway’ is Doorway to Ascension a delicate instrumental that overlays spoken word to leave you ruminating on the whole theory of existence and life, the universe and everything in an introspective fashion.
Regret – Sailing Stones at the start is like an oasis of serenity and calmness, gentle guitars, subtle drums and Josh’s softly delivered vocal but it is only temporary before it erupts into a dynamic track full of raw aggression, screaming guitars and belligerent vocals as if the weight of the world is on its back. These two polar opposites survive in a musical world of juxtaposition challenging you to take sides in an urgent conflict. Another imposing song that feels like a force of eternal nature.
And so it comes to an end, the closing song Homebound – March of the Trees has an aura of finality to it, the conclusion to a journey of self-discovery and one that we have been privileged to bear witness to. Once again, a low key opening belies what is to follow, the forces of nature lead in an evolving guitar note that has an edge of suspense to it, only added to by the measured drumbeat. Josh’s chanting vocal has a world weary feel to it before it becomes an anguished cry full of a pensive melancholy. The whole track opens up into a huge panorama of sound occasionally allowing itself to become pared back before the pained aggression returns. This terrific sonic assault on the senses eventually closes out leaving you open mouthed and numb.
This is heavy and experimental progressive music from artists who are nearing the height of there already impressive powers. They create songs that ebb and flow between the intensely dark and the incredibly light and it is utterly addictive. With Our Arms To The Sun are an elemental force of musical nature, unstoppable in its voracity and deserve to be mixing it with the big boys and, on the strength of this incredibly impressive new release, they will be supping at the top table very soon!
Due to be released April 2017
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“Simple can be harder than complex: You have to work hard to get your thinking clean to make it simple. But it’s worth it in the end because once you get there, you can move mountains.”
― Steve Jobs
“The most complicated skill is to be simple.”
― Dejan Stojanovic
Imagine, if you will, a school of excellence for the mixing, mastering and production of music, Progwarts for the progressive music world maybe? (I’ll get my coat eh?), where engineers like the renowned Rob Aubrey, the revered Steven Wilson and the talented Daniel Bowles learned the dark arts and black magic that is stock in trade for such an establishment. I haven’t got a clue how they take the raw elements of music and wondrously turn them into the refined and polished product that us end users get to hear.
However, there is such a thing as an over-engineered piece of music and one where the engineer and/or recording artists just can’t help having that final tinker around to produce something with an almost unnatural sound.
So, taking things a step further, what if former star pupil John Bassett turned his back on the venerated establishment and went on a perilous journey into the deep, dark wilds of Ireland and recorded in a derelict Byre in County Sligo on December 29th 2016? Recorded in one take with three microphones, one for vocals, one for guitar and one for ambient sounds such as the birds nesting in the roof, the wind outside and the door continually creaking.
Well, you’d have ‘Live From The Byre’, the latest solo E.P. from this well respected English multi-instrumentalist and producer. It follows 2014’s full length ‘Unearth’ and the ‘Aperture’ E.P. released last year.
(Picture credit Tamsin Bassett)
The songs featured on this back-to-basics, pared back recording are:
1. Unearth (from John Bassett“Unearth”)
2. Nothing Sacred (from John Bassett“Unearth”)
3. Murder in a Small Town (from KingBathmat“Blue Sea, Black Heart”)
4. Brand New Crucifix (this song is about 20 years old and I don’t think its ever been available anywhere?)
John had this to say his latest recording:
“I hope you enjoy this release, I’ve always wanted to create something that has an intimate atmosphere and was created spontaneously, and this certainly wasn’t what I had planned on doing.”
Unearth opens with a really moody feel, subdued guitar and John’s hesitant, pared back vocal to give a really intimate atmosphere to the song. I can imagine myself in the byre listening to this earnest musician recording this track live. It may be a simple set up but that doesn’t mean you get less from the music. There are plenty of nuances and empty spaces for the sound to fill. It is almost edge-of-seat stuff, quite intense in the way it leaves you nervously apprehensive as the guitar builds up to quite a powerful close to the song. A dynamic track that proves less can always be more…
There is a jaunty repose to the opening of Nothing Sacred as the guitar strums along nicely and the vocals have a halting edge to them. The song builds up to the chorus, the guitar increasing pace and John’s voice becoming more influential. I listened to this song with headphones on for the first time and I really got the impression of being in an intimate acoustic gig in some small basement club somewhere, time and life forgotten in the moment. That is the essence of this E.P., it is music you can lose yourself in and gets right to the basics of why we listen to it in the first place.
Murder In A Small Town takes on a more melancholy note, a wistful sorrow in the vocals and the delicate guitar tone. This is a tale of sorrow and woe and has that almost pensive folk like feel to it. Stories from the backwoods brought to life by the brilliant musician in front of you. To my ears, the most pared back of all four of the songs and yet there is a real substance to it as John gives his heart and soul to the music. It is quite spellbinding in its own way and left me transfixed as it came to its sombre close.
There is a touch of old style 50’s Rock & Roll at the heart of Brand New Crucifix with the subdued guitar playing and its really deep resonance and John’s stylishly restrained vocal delivery. This could have been a Johnny Cash song in his heyday and it really resonates with its restrained and controlled feeling of fury. There is an increase in tempo towards the end, an intense and turbulent finish to the song that leaves you almost breathless.
Now I’ve been a fan of John Bassett through KingBathmat,Arcade Messiah and all his solo work and his incredible ‘Wall Of Sound’ has always blown me away but here he really shows that you can strip things all the way back to basics and deliver music that is true to his heart and soul and has a purity that you just won’t find anywhere else. Everybody should listen to this E.P. at least once and remember what music really is all about, this is a Brexit that actually did work.
“Look around you. Everything changes. Everything on this earth is in a continuous state of evolving, refining, improving, adapting, enhancing…changing. You were not put on this earth to remain stagnant.”
― Steve Maraboli, Life, the Truth, and Being Free
Yes, everything changes but, in music, sometimes that change either takes what seems like a lifetime or never happens at all. Some of the more established acts could be said to have congealed into their final selves. To be fair, they can often still produce great music but you always know what to expect and that means no more surprises and I for one like a few surprises in my musical journeys.
Tim Bowness has admitted to me himself that he does have a signature sound and it is one that can be heard as the foundation on his previous three solo releases ‘My Hotel Year’ (2004), ‘Abandoned Dancehall Dreams’ (2014) and 2015’s ‘Stupid Things That Mean The World’. 2017 sees him return with a new album, ‘Lost In The Ghost Light’, and a new approach.
Here’s Tim’s thoughts:
“This new album, in some ways, it is quite a departure. There are lots of flutes on it and due to the nature of ‘the concept’, it’s definitely the most traditionally Progressive album I’ve made. It was very much a labour of love and like you say, it ‘felt’like a Tim Bowness album while taking the music into some uncharted places (for me).”
‘Lost In The Ghost Light’ is a concept album revolving around the onstage and backstage reflections of a fictional ‘classic’ Rock musician in the twilight of his career. It is a grand statement about a grand era of music making and an undoubted highlight of Bowness’s career.
Lyrically, the album addresses how the era of streaming and ageing audiences affects creativity, how a life devoted to music impacts on real / family life, and how idealistic beginnings can become compromised by complacency and the fear of being replaced by younger, more vital artists.
Though firmly focused on Bowness’s distinctive voice and musical approach, the album also draws inspiration from the period the concept covers and contains a notable 1970s Symphonic/Progressive Rock influence.
Mixed and mastered by Bowness’s No-Man partner Steven Wilson, ‘Lost In The Ghost Light’ uses a core band comprising Stephen Bennett, Colin Edwin (Porcupine Tree), Bruce Soord (The Pineapple Thief), Hux Nettermalm (Paatos) and Andrew Booker (Sanguine Hum), as well as guests including Kit Watkins (Happy The Man/Camel), Steve Bingham (No-Man) and the legendary Ian Anderson (Jethro Tull). Andrew Keeling (Robert Fripp/Hilliard Ensemble/Evelyn Glennie) arranges for string quartet and flute on three of the album’s
songs.
Jarrod Gosling (I Monster / Cobalt Chapel) provides the fantastically detailed artwork, which includes a visual history of the career of the concept’s subject. Mixed and mastered by Steven Wilson, the special cd/dvd edition also features a 5.1 mix by Bruce Soord.
Tim certainly knows how to start things off with a bang. Opener Worlds Of Yesterday is hypnotic, immersive and mesmerising from the first note, a song that draws you into its soporific embrace to deliver its undoubted charms. The gentle background music has a plaintive guitar note overlaid before Tim’s distinctive vocals begin. His voice is calming and spell-binding at the same time and the beautiful strings that back the chorus work in perfect harmony. The music is full of refined grace and yet the probing guitar that you can hear throughout gives it a questing edge as well. The sedate, ambling keyboards are a delight and the flute just adds another layer of undoubted class, You just have to listen to the run out of this elegant track, it is a brilliant way to close out a song. One for late nights, lights turned down low and something full bodied and red to drink…
Moonshot Manchild opens with a laconic feel, typical Tim Bowness, all laid back vocals and subdued music that gets under your skin in an addictive fashion. There’s a subtle incisiveness running underneath though as the mellow and unhurried music washer over you. Classic 70’s keyboards give a real feeling of wistful nostalgia and a melancholy undertone to the ongoing tale. Tim’s voice has never sounded so good and he really has one of the most serenely relaxed vocal deliveries around. There’s a great keyboard interlude in the middle of the track, pensive and thoughtful asking you to reflect for a moment before the song blossoms out again with a wonderfully carefree and composed instrumental section. Once again we are treated to another impressive lead out, something that seems to be coming stock in trade for this great musician, it ebbs and flows brilliantly, demanding you follow it right to the end of the musical journey.
Wow! The next track is a real departure for Tim. All full of angst and pent up rage, Kill The Pain That’s Killing You opens with frantic drum beat and a caustic guitar riff. There’s a real nervous energy about this song, a pleading uneasiness that has a real catchy note to it. Tim’s vocal seems more direct and urgent and that acerbic guitar note really does make you sit up and take notice. The staccato chorus only adds to the offbeat tone, this is something very different and enjoyably so and, coming in at under four minutes, this frenetic song never outstays its welcome.
After that unexpected but thoroughly enjoyable onslaught,Nowhere Good To Go sees us return to the refined, simple grace of the first two tracks but there is definitely something evolved about Tim’s sound on this album. Soothing and tranquil, the music seems to lull you into a becalmed state and then open up into something just a little different with the dulcet tones of a Hammond organ combining with the strings to add subtle sophistication to what is already quite an imposing sound. Again the vocals are delivered with silken finesse and the ethereal flute adds a winsome feeling to this lissome song.
There is one of the best openings to any recent progressive song on You’ll Be The Silence. All pastoral with a lovely piano sound and the delicate heavenly flute, it really did impress me on first listen and left me transfixed with its rarefied quality. Tim’s voice has a little catch to it, an almost sentimental regret at the heart of it and it gives the song a dreamlike atmosphere when combined with the simple charms of the wistful music. The longest track on the album at nine minutes long, you are enraptured throughout this unapologetically sentimental and yet slightly rueful piece of music. You have to take the time to listen to this song (and, indeed, the whole album) with a decent pair of headphones on and just become immersed in its spellbinding orchestral reverence. Music as good as this can take you to a place of calm reflection, where the world cannot harm you and everyone needs that now and again, an utterly captivating song that ends every bit as brilliantly as it begins, the guitar and flute leading you on a seductive voyage home…
Lost In The Ghost Light is quite a dark interlude with a menacing undertone. Tim delivers his vocal in a spoken word fashion and that adds even more suspense and uncertainty. The music is atmospheric and bleeds tension directly into your system.
That slight feeling of doubt can be felt at the start of You Wanted To Be Seen and adds to a cautionary tone to deliver a deliberately pensive and sombre tone to the song. Tim’s vocal is thoughtful and sad and the music has a plaintive and pensive edge to it. The violin that can be heard in the background is a fine touch and adds a longing, surreal edge to the track before things change tack with a restless and skittish air that adds tension and a disquieting unease. Another great song that has an imposing end with some great guitar playing.
Onto the final track of the album, Distant Summers, a mournful violin opens this mellow and cultured song and imbues it with a really plaintive plea for days gone by, Sepia tinged nostalgia drips from every wistful note and the exquisite flute playing is tempered by a trite ennui. The vocals have a touch of anguish at the core of them and the whole song has a fragile dignity deep at its core, one that is made up of beauty and remorse in equal quantities. Despite the forlorn mood that runs throughout the song, I still feel that there is hope emanating from Tim’s expressive voice and that is the overriding feeling that I will take away with me.
I’ve always been a fan of Tim Bowness and this new album has only exacerbated that. He has added something different and distinct to his music to evolve and progress it to something that, while recognisable as his work, has seen him mature into one of the best and most involving progressive artists that we have. There are added layers and nuances that just lift this album above similar fare on offer at the moment and I can see this being on my playlist for a long time to come.
