Martin Hutchinson – Page 13

Review – Hibernal – The Dark Of The City – By Progradar

Those of you who have read my reviews will know that I like to drop in the odd quote or two so it will be of no surprise to you that I have found a couple that really relate to my feelings for the wonderful Mark R Healy‘s Hibernal project’s latest release ‘The Dark Of The City’.

“Storytellers are individuals who enjoy creating a holiday for the mind.”
― Linda Daly

The above quote really fits Mark perfectly, his utterly mesmerising and perfectly crafted series of musical graphic novels take you on a futuristic journey into his carefully constructed futuristic and sometimes post-apocalyptical worlds. You find yourself completely immersed in these sci-fi stories that combine with instrumental music to tell a compelling storyline that unfolds throughout the course of the album.

“Storytellers are the most powerful people on earth. They might not be the best paid– but they are the most powerful. Storytellers have the power to move the human heart– and there is no greater power on earth.”
― Laurie H. Hutzler

It goes without saying that stories give you the power to leave the everyday behind and use your own imagination to perceive the author’s intent. I always find myself amazed beguiled and enthralled after listening to any of Mark’s complex and fascinating releases.

Mark R Healy is an author and musician from Brisbane, Australia. From an early age he loved to create, and often assembled his own illustrated books with accompanying stories – and then forced his parents to buy them.

Unfortunately this model was not scalable and Mark now seeks to promote his works to a wider audience.

Mark has also combined his storytelling prowess with music, creating a project called Hibernal through which he interweaves original sci-fi stories with his own music to create an immersive theatrical experience for the listener. Combined with a professional voice cast and sound effects, these “audio movies” are ‘The Machine’ (2013), ‘Replacements’ (2014), ‘After The Winter’ (2015) and ‘The Dark Of The City’, to be released January 12th 2017.

‘The Dark Of The City’ is based around the story of a cop who undertakes a relentless search for the creature that killed her partner.

Hibernal is:
Mark Healy
Rowan Salt

Script by Mark Healy. Edited by Rowan Salt.

Cast:
Faleena Hopkins – Moreno
Scott Gentle – Trask

The opening title track, The Dark Of The City, has that dark dystopian ambience that we have come to expect from Hibernal and sets the scene perfectly with its understated sci-fi feel. As you’d expect from an ‘audio-movie’ the characters introduce the story within the voice over of the song and Faleena Hopkins is perfect as the heroine of the piece Moreno. The music bubbles under in the background as Moreno tells the tale of the cops hunting the monstrous creatures called ‘Necros’ and, in particular, the one that killed her partner.

You have to listen to this release in one hit, in a dark room with no distractions and preferably with headphones on! The instrumental sections immediately bring to mind the worlds Mark has created previously for ‘Replacements’ and ‘After The Winter’ and are a little different to what he served up on Hibernal‘s debut ‘The Machine’. The brooding guitar playing and pensive rhythm is almost like Nine Inch Nails but without the brutality and gives an apprehensive tone to everything. Atmospheric, it seems to expand to fill the space around your ears and envelops your whole being in an involving wall of sound.

The story continues with Night In Carson Bay as Moreno once again paints a picture of the scene. The music has a real hypnotic quality to it, Mark’s keyboard playing is elusive and yet mesmerising at the same time and then the somnolent guitar note leads you on. Deliberate and narcotic, the track continues to pervade your psyche and you find yourself immersed even more into the mood. The voice-over describes an underworld of any possibilities as our protagonist continues to search. You feel her every emotion as she battles her inner demons and the music takes on an angrier, demanding edge to mirror this.

Target 247 opens with a instrumental section that is as cinematic as they come and, to my ears, almost has a Sci-fi Western feel to it, the bass playing is phenomenal and really steals the show. I’ve always been impressed by Mark’s musicianship but he really seems to have extended himself even further on the new album and become even more accomplished. At this point, headphones on, I have become lost in the music when Moreno’s voice chimes in, introducing her partner Trask (voiced by the excellent Scott Gentle). There is an uneasiness between the two partners and Scott plays Trask as a gravel voiced old pro who you feel has seen it all before. Moreno’s obsession comes to the fore again, there is only one target she is after and the song closes with really edgy industrial guitar riff of immense proportions.

A low undertone opens up into a determined instrumental at the opening of How It Ended as the story continues and Moreno describes their actions. That dystopian feel hits home harder than ever as the partners talk and reveal their past chequered history. There’s a harsher guitar note playing out behind the vibrant drums, keys and bass giving a discordant overtone, perhaps matching the atmosphere between Moreno and Trask. Their quarry seems to be eluding them, intelligently hiding from any of Moreno’s tracking techniques as they move deeper into the dark underbelly of the futuristic society.

The atmosphere is charged even more at the opening of Black Blood, apprehensive and anxious as Moreno and Trask venture even deeper in to the dark underworld where the freaks and criminals hide away and go about their nefarious business. We learn more about the ‘Necros’ and what they could possibly be as the dialogue interplays between the two. The dark and introspective music gives the scene a really melancholy aura and keeps you on edge.

The sounds of waves washing up and a fog horn are the opening to The Pier and a feeling of calm initially pervades everything personified by the music. Lighter and more upbeat and is it washes over everything, the stylish drums a highlight. An edgy, funky riff gives a serious tone before the voice-over continues, have our duo finally found their quarry? A Pink Floyd sounding guitar takes up the narrative itself, full of style and character, is the net finally closing in on the prize?

A hushed tone is heard as Sand sees Moreno beneath the pier as the chase continues.You are totally on edge, wondering what is going to happen next as she talks us through her motions, what’s that in the shadows? The music gets tense, restless and skittish, the riff staccato and ill-at-ease, what is happening? You can’t help but feel excitable and, your nerves on edge, mirroring the guitar and drums. There is a confrontation, is Moreno okay, has she been shot? She fires back, her prey is down but is that the end? The track close with a funky, stylish soundtrack, almost triumphant in tone.

Loose Ends, what has occurred? Trask arrives on the scene amid utter confusion, who has been shot? Who is the monster? Oh my god, the twist in the tale is utterly brilliant and convincing and you sit open-mouthed as the rest of the story unfolds and we segue into Monster. The storytelling brilliance of Mark Healy left you toally open to that unexpected turn in the story. I’m not going to spoil it for you, honestly buy the album and enjoy that heart-in-the-mouth moment yourself. The rest of the track closes the story perfectly with the voice-over underpinned by poignant and reflective music full of emotion, some of the best music Mark has produced yet, mature, intelligent and it hits home perfectly with the unforeseen ending to the scene…

The story finally unfolds with the final track Survival, an astute monologue delivered to the rapt listener, still a little in shock from the outcome that was so unanticipated. You hang on every word, just as you would watching the final scene of a brilliant movie you’ve seen at the cinema. The music then takes over melancholy, mournful and a little disconsolate, I felt it in my own heart, a lament for an unknown future with little hope, wistful and forlorn.

I have never made it a secret that I am a fan of Mark Healy, not just his Hibernal project but also his sci-fi novels. His inventive and innovative mind never fails to surprise me to deliver an utterly immersive and vivid world which he fills with his utterly credible, world-weary characters and delivers deeply engaging and fascinating stories that draw you in completely. With ‘The Dark Of The City’ he has surpassed the previous wonderful ‘audio-movies’ and given us his best work yet, the way the story unfolds is real genius and I can’t wait to see what this ever imaginative and creative artist will come up with next.

Released 12th January 2017

Buy ‘The Dark Of The City’ direct from Hibernal

Progradar’s Best of The Year For 2016 – Editor’s Choice

So we have had a wonderful selection of Top 10 picks from some of my great collaborators and now it is my turn. I’m going to stray from the norm because mine is going to be a Top 20 to keep it in line with my TEP selection that I spoke with David Elliott about.

Yes, it is a bit of a cheat but it is my website so I don’t have to follow the rules. Anyway,without any further ado, here are my top albums of 2016,not in any particular order but they have all made a big impact on my life this year…

You will also notice that there are no Bad Elephant Music releases in my Top 20. The label I work with had another superb year but it would have been a bit unfair of me to include any releases from the artists on BEM.

Bad Dreams – Déjà vu

‘Déjà vu’ is an album that will stand the test of time and is a great achievement for Bad Dreams. I was impressed from the first note by the accomplished musicianship and the superb vocals, add in the exemplary songwriting and it was sure to be a winner in my book. What makes it stand out even more is the way the music becomes almost part of you and can make you stop what you are doing and just listen for the sake of it and that, my friends, is what truly great music can do to you.

Blue Mammoth – Stories Of A King

Proper seventies epic prog of massive proportions from these excellent Brazilians. The artwork alone is very striking but the music will literally knock your socks off, play it loud,VERY loud!

Cosmograf – The Unreasonable Silence

Thought provoking, questioning and inventive, ‘The Unreasonable Silence’ has all that I ask for in my music. A well constructed and intelligent concept brought to reality by a gifted musician with incomparable support from some incredible guests. It makes you really think about what you have heard and, above all, is a peerless, outstanding and incomparable listening experience that you will not forget any time soon.

Tony Patterson – Equations of Meaning

Well I was utterly mesmerised by ‘Northlands’, Tony’s collaboration with Brendan Eyre and this album deserves to be mentioned in the same breath. To get the utmost from the album you must listen to it from start to finish, preferably with headphones on, in a darkened room and with your choice of relaxing alcohol. To me, ‘Equations of Meaning’ is not merely a great release, it is a state of mind that we should all aspire to when our Life in the Fast Lane gets too much for us. Superb and highly recommended.

Big Big Train – Folklore

It was always going to be hard to follow ‘The Underfall Yard’ and the ‘English Electric’ albums but the acknowledged masters of pastoral progressive rock and intelligent and incisive storytelling have returned with a fresh collection of stories and tales gleaned from our heritage and history. With their penchant for heartfelt lyrics and beautiful music it is an involving and mesmerising journey that everyone should take at least once in their life…

Damian Wilson – Built For Fighting

Funny how music fits in with your life isn’t it? I was listening to this album walking back home last night and it just struck me as to how much it was a soundtrack to how my life has turned out this year. Painful lows, beautiful highs and, ultimately, balance has been restored.Taking a break form his Prog-Metal roots, Damian delivers a solo release of sublime brilliance.

David Foster – Dreamless

The usually modest and self-effacing Dave Foster has stepped out of the shadows and onto centre stage to deliver his second solo opus and is to be applauded and admired for doing so. Such a variety of moods, styles and colours doesn’t always mix well but when it is done with consummate skill, like it is here, you are treated to a cornucopia of musical delights. While neither ground breaking or game changing, what it is is really rather good.

Gandalf’s Fist – The Clockwork Fable

Gandalf’s Fist truly believe that this is the finest musical work that they have ever created. There’s a mix of all of their influences and, were you to put all of the best bits of our discography into a huge melting pot, you’d end up with something quite close (but not as awesome) as what the guys have created! But don’t just take their word for it – head over to the pre-order store and have a listen to a whopping 10 minutes of audio previews!

Ghost Community – Cycle Of Life

‘Cycle of Life’ is a thought-provoking, beguiling and fulfilling musical journey that excites and satisfies at every turn. Ghost Community may have had to endure trials and tribulations while making this record but the experiences have enabled them to deliver something quite magical and rewarding that will stand the test of time, worthy of a place in anyone’s musical collection.

Glass Hammer – Valkyrie

With its insightful, thoughtful lyrics every bit as important as the mightily impressive music, ‘Valkrie’ is a concept album in the true sense of the word. With some delightful departures from what some would call their signature sound (The Beatles anyone?) Glass Hammer continue to evolve into one of the world’s foremost Progressive Rock bands. This iconic group of musicians lead you on a journey through the horrors of war with a totally immersive sixty-five minutes of music and you will come out the other side changed forever. I can’t recommend this album enough, one of the best albums of 2016? One of the best albums of recent years more like…

iamthemorning – Lighthouse

‘Lighthouse’ is an amazing musical journey from the first note to the last. It is bewitching and beguiling and removes you from your everyday life to a place of wonder. Darkly captivating, it is not all sweetness and light but is a musical legacy that iamthemorning can build on and the ‘Lighthouse’ can light the way. These two exceptional artists have now moved into the major leagues and it is well deserved, album of the year? why not!

Nerve Toy Trio – Accidental Bar-B-Que

A really impressive and ultimately satisfying release that really gets into your psyche and has you reaching for the repeat play button again and again. Nerve Toy Trio has given us one of the best instrumental releases of the year with ‘Accidental Bar-B-Que’ and one with which the music really does stand comparison to the excellent album art. Seems my gut feeling was right once again, a highly recommended release.

I Like Trains – A Divorce Before Marriage

A real late comer to the party, in fact I haven’t reviewed it fully yet! This sublime and haunting collection of instrumental marvelousness from these Yorkshire musicians is a soundtrack to the film of the same name. Ethereal and yet solidly powerful, I haven’t heard anything like it all year and it demanded to be in this selection of top releases.

Patchwork Cacophony – Five Of Cups

There is intelligence and a wry humour than runs throughout this remarkable album. Ben Bell has an immense talent and really knows how to put it to good use. Intelligently crafted songs that make you want to listen to them show him to be a great songwriter and what he delivers proves what a notable musician he is as well. In the world of progressive rock a new star is set to rise.

Blue Rose Code – …And Lo! The Bird Is On The Wing

Blue Rose Code is Edinburgh-born songwriter Ross Wilson. At the edge of contemporary alt-folk, Wilson’s music evokes a meeting of Van Morrison and a young John Martyn, both shipwrecked with a bunch of Motown records. A deep emotive well of stunning music that affects you at a core level, another late discovery of 2016 for me but a band I will be keeping my eye on now!

Of the new record, Wilson says, “It’s an album for music fans and musicians. A challenging record, I think, and it’s abundantly clear that the process has been undertaken away from the cynicism of any record company.”

Ray Wilson – Makes Me Think Of Home

Ray Wilson has taken us on a deeply personal musical journey full of hope, despair, pain and, ultimately, salvation and I was hooked on every word, every note. This is music at its very best, written from the heart and full of the passion and soul of the artist. This is an album that I will return to again and again, no matter how much new music crosses my path and is surely a collection of songs that can, and will, stand the test of time.

Thence – We Are Left With A Song

What Thence have delivered with ‘We Are Left With A Song’ is no mere album, it is a breathtaking, creative powerhouse of sonic delight that grows to fill any space that it occupies to take on a life of its own. It is a life that you will want to share until your dying breath, above mere superlatives, it is an utter triumph.

Tilt – Hinterland

What TILT have delivered is a superb album by a cast of very accomplished musicians. Brilliant vocals, burning guitar solos, a thunderous rhythm section and songwriting of the highest quality combine to deliver one kick ass release that I keep returning to again and again. A fine combination of excellent rock music with all that’s best about progressive rock, these guys show how it really should be done!

Marc Atkinson – Home Grown

To me, this is what makes writing about music worth every single minute I take. I have been involved in this long musical journey in some small way from start to finish and when you hear the finished article, it is almost like welcoming a newborn into the world. Marc Atkinson will have agonised about every single word and note on this album and to my ears it has been worth every single second he has taken. This is music that takes over your mind and soul and which you can relate to on a very personal level. Fifteen songs that are extremely personal to this gracious man and we should be glad that he has released them for us to enjoy. A great album and one that I have no doubt is the complete pinnacle of Marc’s solo career to date, I am extremely proud to be able call him a friend.

Drifting Sun – Safe Asylum

Drifting Sun have delivered quite a work of art, one that touches on the past for influences but, also, has its own, confident vision of the future. Consume it in one listen to get the full effect of this great album, it is one that will live in the memory for a long time.

So, there you have it. 2016 was another brilliant year for music and I hope our End Of Year choices might make you go out and buy the music to support the artists involved. Please join me and my fellow authors at Progradar in 2017 for what I hope will be another stellar year for lovers of music.

Review – Sills & Smith – Echoes In Time – by Progradar

“Douglas Adams got it wrong, ’42’ is not the meaning of life (the universe and everything), no, the meaning of life is music…” – Martin Hutchinson

You’ve read my reviews before, most of the time I search for an inspirational quote about music. How music affects me on a personal level or how music can just make your life worth living and this world we live in a much better place to be.

Well, this time, I came up with the quote all on my own. I honestly feel that my life would be so much poorer without the impact that the music I listen to has on it. Don’t get me wrong, I really cannot connect with chart music but there are those out there that take their daily fill of it and it makes their world better.

I just feel that music that is written from the heart and because of the artists love of music (and not necessarily for commercial gain) has even more power to affect your life and sooth your soul. It transports you temporarily to a world of your own imagination, where you can go to recharge your batteries and let the tiredness of the daily grind wash away.

Well it happened again, this time it was an email from Frank Smith, of Canadian artists Sills & Smith, asking me if I would like to have a listen to their music with a view to reviewing their last release ‘Echoes In Time’, which came out at the end of 2015.

I duly did and you may have gathered, by the simple fact that I am writing this review now, that I really liked it enough to want to explore more.

Sills & Smith, led by Ottawa singer-songwriters Jeremy Sills and Frank Smith, has independently released five studio albums of music that boldly blend and bend elements of folk, alternative rock, progressive rock, with hints of blues and jazz. The new album ‘Echoes In Time’ features 13 powerful, melodic original songs; the boldest Sills & Smith musical adventure to date.

‘Echoes in Time’ features a stellar cast of players, with the core group: Frank Smith (words/music, vocals); Jeremy Sills (music, vocals, acoustic guitars, piano, trumpet); Phillip Victor Bova (recording engineer/producer, electric and acoustic bass) and T. Bruce Wittet (drums/percussion). Brilliant supporting musicians include: Kevin Breit – electric guitars and mandolin, Blair Michael Hogan – electric guitars, Roddy Ellias – electric guitar, Jim McDowell – organs, Don Wallace – electric guitars, Tara Holloway – vocals and Linsey Wellman – saxophone.

Grace Smith designed the beautiful, four panel digipak CD edition of the album.

The opening track We Are Receiving is a delicate and winsome beauty. The tender guitar and plaintive trumpet give the song a beautiful fragility, a gossamer thin veil that is pierced by the low down vocal of the verse. The harmonised chorus is a study in refinement and the use of the polished mandolin is genius. It’s almost like an upmarket folk song and really leaves me feeling relaxed and in a state of wonderful reflection, utterly delightful. Altogether more serious and contemplative, Slicing Up The Clouds is sombre and melancholy in feel with mournful vocals and an almost funereal rhythm from the drums and the bass. There’s a darkly delicious undertone to the track, one that drags you into the dreamscape unable to resist. There is an overriding opaqueness to this song, a tenebrous feeling of walking down an unlit path, not knowing what is to come. The guitars have a real abrasiveness to them, insinuating themselves into your psyche and, as the song comes to its menacing close, I can’t help but feel slightly chilled and scared. The Chalice/The Blade is a really laid back song with some tranquil and serene vocals that are matched by the carefree and breezy guitar that runs throughout this enchanting track. This is music that is happy to just tread water, no particular place to go and no rush to get there, Calming and relaxing, you are invited to unwind and let yourself go. Sunny days and warm nights are what come to mind, a nostalgic look to the past when life seemed so easy. The guitar playing is brilliant, almost free-form and jazzy, leaving little notes of sophistication hanging in the air and the repeated chorus accentuates the aura of serene sophistication.

The first thing that grabs you on One Step Behind is the incredibly emotive saxophone, the playing is just superb. There is a barely kept feeling that all is well to the outside world but, underneath, all could come crashing down. The wistful guitar and melancholy vocal have an ageless feel to them, a story long in the telling perhaps, and they keep your attention rapt on this pensive and thoughtful track. As it comes to a close I am left with the loudness of silence. That slightly disconsolate musing is carried over to They Don’t Come Knocking, another incredibly deep track that begs your understanding. The slow pace and deliberate vocal just add incredible amounts of meaning and the achingly elegant guitar speaks of decades of questioning and inquisition. There is no happiness here, just an eternal grace and fortitude. The Cimmerian shade is lifted slightly by the upbeat tempo of Reverberations with its 50’s sounding twanging guitars. The lyrics have a real feeling of Americana to them and I really find myself getting drawn into the stark joy that emanates from this song. There’s almost a feel of a more serious R.E.M (if that is even possible!) to this track, a grown up humour that underpins everything, keeping it in check.

Hillbilly blues with a hint of jazz? Well, that’s about the best way I can describe the oddball delights of I Was Really Something, a song that has a real tongue in cheek irreverent humour running smack down the middle of it. The organ playing really gives it an almost vaudevillian tempo and vibe, it’s like Twin Peaks meets The Rocky Horror Show with a Gothic twist and I really like it, the vocals are great and the guitar just seems to have a mind of its own. The humour seems to take a back seat but that 50’s aura doesn’t leave. Echoes takes the impudence and wit of the B52s and covers it in lashing of black humour, especially that really catchy organ sound. The vocals are serious and monotone, giving gravitas but I can’t help smiling. The ability of Sills & Smith to effortlessly switch between sounds and genres is mightily impressive. Now onto the superb, dark hues of the bluesy The News. Again that slightly unreal ‘Twin Peaks’ feel persists, as if things aren’t quite what you think they are, the edgy, humourless vocal giving nothing away. What really stands out on this track is the outlandishly guitar playing, like blues on steroids and it gives the song a sort of modern western/mariachi soundtrack to it, added to the haunting organ note, it really is something. This is a track that I like to play with the lights right down low and at full volume, it is quite disconcerting but wondrously so and would grace any Tarantino film as it takes you into a world of modern fantasy. Listen right to the end and you will even hear the guitar go all Carlos Santana on you, utterly mesmerising.

Time to go all R&B on us now, After The Smoke Clears is a really nice track with some great guitar playing and a captivating vocal. Clever, insightful lyrics delivered with heartfelt feeling give it some real class and the music has a real 80’s George Benson undertone with the wah-wah pedal working overtime. A lament to things lost but delivered with panache and flair. A folk song at heart, Is The Mirror Reflecting You ? has a really solemn vocal and pared back instrumentals that give it an austere dignity. Time seems to stand still as this refined track carries on its serene journey. The humble vocals and subtle music have an intangible depth to them and this song leaves your heart open and raw with feeling. The Sacred Valley has a noble grace to it, the pure and uncomplicated music and restrained vocal give an overall pastoral tone to the song. There is something to be said for uncomplicated music that wears its heart on its sleeve, what you see is what you get and this elegant track is exactly that. The simple sentiment that is at the heart of everything is one we can all relate to and this lovely piece of music will put everyone in touch with their innermost self. This intense and fascinating musical journey is brought to a close by Pick Me Up With A Song, a country/folk track that has hints of Dylan to it in the vocal and guitar. Simple, dignified and with a message that we can all take to heart, this song just seemed to have a calming effect on me and left me composed, relaxed and in a place I was exceedingly happy to be.

Wherever you look, you will always find music that captivates and intrigues. We now live in a world where superb music is the norm rather than the exception but some music will always stand out from the crowd, even if it is a rather impressive crowd. The musical capabilities of Sills & Smith are such that ‘Echoes In Time’ isn’t just a really good album, it is a great one and one that I must heartily recommend to any lover of great music and excellent songwriting.

Released 10th November 2016

Buy ‘Echoes In Time’ from bandcamp

Review – Patchwork Cacophony – Five of Cups – by Progradar

There’s been a lot of discussion recently about a loss of ‘value’ to music, in the sense that people seem to think that they should be able to listen to it for free, either via streaming services such as Spotify and Apple Music or by illegally downloading it from the plethora of music sharing websites that haunt the internet.

What hasn’t helped is the fact that now virtually anybody can make an album in their bedroom with a laptop and, unfortunately, virtually all these so called ‘records’ are of very poor quality. To be fair, I’d be a bit hacked off if I’d spent £10 on a piece of music that sounded like caterwauling cats singing over somebody’s guitar lessons but the majority of music is still made over a lengthy period of time by artists who put their heart and soul (plus a not unreasonable sum of money) into creating these musical gems.

To have that devalued by the marketplace as it is now must be heartbreaking, especially when you are a multi-instrumentalist who actually plays virtually all the instruments on a new release, as well as writing all the songs and producing and engineering their works of art.

A message came into Progradar from Ben Bell, the multi-instrumentalist behind Patchwork Cacophony, asking if I’d take a listen to his latest release ‘Five of Cups’. I duly did and was intrigued to find out more…

Ben first came to prominence as the keyboard player, co-composer and producer on Fusion 2 Orchestra‘s acclaimed 2013 album ‘Casting Shadows’. When I started waxing lyrical about his new release on social media, it also came to light that he is the new keyboard player for my favourite cult prog-rock outfit Gandalf’s Fist and this was pointed out to me by my friend (and Fist’s drummer) Stefan Hepe.

He released his debut solo work, ‘Patchwork Cacophony’, independently (and with little fanfare) in 2014 and it immediately garnered glowing reviews for its distinctive take on classic symphonic prog. The trademark multi-layered vocals, effortless mixing of styles and intricate instrumental passages earned him wide-spread praise as a ‘huge talent’.

The follow up album, which I’m reviewing here, ‘Five of Cups’ sees a further development of Patchwork Cacophony‘s sonic identity and Ben also welcomes guest guitarists in Marcus Taylor and veteran live session musician Tim Hall.

The album opens with the four part Fairytale (Parts 1-4) and part 1 is the wonderfully atmospheric instrumental Are You Sitting Comfortably? and then we segue into the breezy and upbeat keyboard heavy progness of Once Upon A Time. We get to hear Ben’s unique vocals for the first time and they fit the classically progressive music perfectly. The musical interplay is excellent and you really wonder how one guy does it on his own! There’s a real polish to the keyboard playing that makes it hugely infectious and I was hooked the first time I heard it. Ben’s skill on all the instruments is very impressive, the rhythm section of the dynamic drums and the funky bass especially. I think I may stumbled upon something special here…We take the instrumental route again with The Wonder Of It All, a wonderfully quirky track that has its own ideas and agenda. Cheerfully buoyant and optimistic, the instruments seem to bounce of each other with reckless abandon and without a care in the world. It is a really refreshing song that puts a spring in your step and Ben’s fingers fly fluently around the keyboards with enough energy and gusto to put even Rick Wakeman to shame! The last part is called Life Is Not A Fairytale and opens with Ben’s rather sombre piano, all the spark and joy of the previous track replaced with a more serious and morose overtone. It is a beautiful tune though and one that almost brings a lump to your throat when the delicate and fragile vocals begin. There’s an almost melancholy edge to Ben’s voice which is emphasised by the graceful notes that emanate from the elegant piano playing. There’s a serious, if thoughtful, message coming from this song and one that we should take notice of, I am left in a deeply reflective frame of mind as this four-part gem comes to a sober and solemn close.

Choices brings back that busy feeling with the energy and dynamism of the opening keyboards and drums that give it an early Yes feel. Quite frantic and yet structured and deliberate, the track opens up with Ben’s precise vocal delivery and takes on a persona not unlike a hyperactive Billy Joel. There is definitely a feeling that Ben has lifted his ambitions on this release and this stylish track is evidence of that. Just check out the infectious Hammond organ that races through the centre of the track, it’s brilliant. Counting Chickens opens with a piano/keyboard combo that brings to mind Changes from Yes, with its catchy and repetitive tempo. It goes on to become a really inventive song with Ben’s signature keyboard virtuosity stamped large all over it. There’s a calmness that falls over the track, a laid back feel before that piano led mantra begins again, addictive and really enjoyable. A great instrumental that I keep returning to again and again.

Like Pink Floyd’s lesser known (but better looking) brother, Maybe strides confidently into the arena on a wave of elegant drums and edgy, funky guitars. This is where Ben takes a step back and lets one of his stellar guests take over and Marcus Taylor really does the business with some superb guitar playing. Ben’s vocal goes up a notch, full of angst and barely concealed anger and it is a great vocal performance. There’s a nice instrumental section that builds up to a rather tasty guitar solo, full of power and emotion, Marcus really reaches the heights on this one. Overall it is a song brimming with energy and disquiet and one that really shows the direction Ben is heading in with its focus and sophistication. A shortish epic at just over nine minutes, Every Day is an immersive and contemplative listen and one that gets the headphones treatment from me, to better enjoy its subtleties. A low down vocal and jazzy instrumentals give it a polished feel, in fact, it is probably the most jazz oriented track on the album with some interesting time signatures and a hesitant pace. Take your foot of the pedal and step of the incessant treadmill of life and let this calm and collected piece of music just wash over you as if you don’t have a care in the world.The middle part of the song is almost like a sci-fi soundtrack, bringing to mind epics such as 2001:A Space Odyssey and the like with its mysterious and cryptic keyboards leading the way before we are treated to synth heaven and Ben gets to show off a little, a really inventive and satisfying track that stays long in the memory.

Chasing Rainbows is a hectic, agitated and frenzied song that really smacks of Ben Folds Five on acid to my ears most of the time. Ben’s vocal has a harder, almost distraught edge and the music is full of nervous energy as it goes from animated note to animated note. A real uptempo and tumultuous jazz-infused track that you seem to feed off and become fevered yourself. There’s a sudden and sharp change of focus and feel half way through where an elegant piano brings order and calm to the chaos and enables you to get your breath back, not for long though as an insistent piano note precedes the return of the tumult, turmoil and barely concealed anger, what a great ‘in your face piece’ of music.

A haunting piano refrain opens the nostalgic and wistful instrumental of From A Spark. Dignified and ornate as if from a bygone era of cultured gentility, the piano leaves tasteful notes on your mind as it weaves its graceful and cultured path through your psyche and leaves its mark on your very soul. Bewitching and captivating, it brings the whole world to a stop for nearly seven minutes to listen and take in its restrained grandeur.

The final song on the album is the masterful splendour of Brand New Day, over twelve minutes of progressive rock that really knows its chops. The opening is all pomp and circumstance with the energetic rhythm section aiding and abetting the compelling keyboards and Tim Hall‘s potent guitar. It opens up into a classic track full of nods to the great progressive tracks of the past. Ben’s vocal is full of intent and gives the song the grounding that lets the instruments take over the show with no need for restraint. There are time changes galore and Ben plays a bewildering number of different instruments throughout this intricately complicated and lengthy work, just sit back and enjoy what is laid before you. You hear little deft homages to the likes of Camel, Yes, Genesis and even IQ as Ben opens up and runs through his full repertoire of talents. Moments of quiet contemplation mix with elaborate instrumental interplays and yet the undoubted talent of this musician never overshadows the music itself. Tim’s guitar is always there waiting to explode into the burning solos that appear towards the end of this mightily impressive song and I am just left feeling very humble and inadequate at the incredible skill and aptitude to be found in Ben Bell.

There is intelligence and a wry humour than runs throughout this remarkable album. Ben Bell has an immense talent and really knows how to put it to good use. Intelligently crafted songs that make you want to listen to them show him to be a great songwriter and what he delivers proves what a notable musician he is as well. In the world of progressive rock a new star is set to rise.

Released 7th November 2016

Buy Five Of Cups’ direct from the artist.

Listen to ‘Five Of Cups’ at bandcamp

Check out Brinkmanship from the first Patchwork Cacophony release:

Review – Maddison’s Thread – 60 Minutes An Hour – by Progradar

“Some journeys don’t have endings, they lead to new beginnings. These are the journeys that lead to great adventures!”
― Alex Haditaghi

The quote above perfectly sums up the way that music has affected my life. From a young age it has always been a journey with no ending. There have always been new avenues to explore, new adventures to undertake and the more your mind is open to new and differing experiences, the more fulfilling that journey will be.

Starting with the pop-punk of The Police and graduating to the new romantics of Ultravox, Simple Minds, Duran Duran and the like, my formative years were based more on the acts in the charts. As I grew older, my musical tastes changed and I went through the hair metal of the 80’s and early 90’s and even dipped a toe in the water of jazz and blues.

Eventually my heart found its home in the world of progressive rock, alternative rock and the ilk but I always had a penchant for something different, I was never one to pigeon-hole my musical tastes, if I like it, I listened to it. This mantra led to me hearing the first, self-titled, Maddison’s Thread album last year.

I was utterly impressed by the music and musician behind the project, Lee Maddison and it prompted these words from my review:

“Folk is rooted at the core of Maddison’s Thread but this album is all about the music and the way Lee can diversify with aplomb is very impressive. A contender for album of the year for me and one that will stay with me for a very long time.”

I became friends with Lee and that led to me being one of the first to hear the follow up to this little gem and I am proud to present the first review of ’60 Minutes An Hour’.

The span of a human life, the rising and setting of the sun, the changing of the seasons, the rhythm of the ocean’s tide, the ticking of a clock. ’60 Minutes an Hour’ is an album inspired by the passage of time and the different ways we experience it.

Each song deals with a different facet of the swirling prism of time. From the racing heartbeat of contemporary urban life in the title track through to the romantic glimpse of immortality in the dream like A Thomas Hardy Evening the album captures moments on our collective journey towards the Elysian
Fields.

Lee Maddison is Maddison’s Thread. He released his début eponymous recording back in 2015 and this ishis second album. He works full-time as a Mental Health Nurse but has still found time to perform at various folk festivals and gigs, opening for the likes of Michael Chapman and Gren Bartley.

In the past year, Lee was commissioned to write a song for the award winning Terry Abrahams ‘Life of a Mountain: Blencathra’ and performed the song at the premiere. This was the second film in a trilogy about iconic lakeland mountains.

The musicians appearing on the album are:

Lee Maddison (acoustic guitar & vocals), Nigel Spaven (bass), Darren Moore (drums), Stewart Hardy (violin & viola), Brendan Murphy (percussion), Paul Donnelly (electric Guitar & nylon String Guitar on tracks 3 & 12), Sue Ferris (flute), Fiona Beyer (cello), Tony Davies (piano & hammond) and Angus Lyon (accordion).

Edwina Hayes (described by Nanci Griffiths as the prettiest voice in England) duets with me on track 8 and sings backing vocals on tracks 11 & 13.

Produced by Stewart Hardy who also wrote all string arrangements.

The opening title track 60 Minutes An Hour is a salutary lesson in why we should take life at a slower pace before it passes us by and we’ve missed the wonder of what is right in front of our eyes. Lee’s apprehensive vocal admonishes us for taking things for granted, his delivery is as excellent as ever and the wonderful music just adds to the garded atmosphere. The delicate acoustic guitar soulful bass and elegant percussion add sophisticated emphasis while the incredibly expressive violin of Stewart Hardy provides angst among the graceful strings and the talented Angus Lyon’s accordion gives the finishing touches as it does all over the album. It might only be the first track but I’m already hearing an added maturity to Lee’s music and songwriting, the music gently insinuates itself into your conscious as if it has belonged there all your life.

More and more people suffer from anxiety attacks, a feeling that something or someone is chasing you through your life and the jazzy vibe of Chasing The White Dove expresses that perfectly through music. A slightly frenetic tempo and Lee’s insistent vocal only increases the feeling and Stewart once again adds his staccato violin to the heady mix of restlessness and disquiet. There’s an effortless feel to the musical delivery, a wonderful freedom to the way these excellent musicians deliver the message in a profound manner. A highlight has to be the infectious and captivating guitar that leaves its mark all over this high energy urban thrill ride.

I first heard the wonderfully scathing Parasiteful at a cellar gig that Lee did earlier this year (funnily enough at the house of Lee’s long time friend and photographer Howy White and his wife Amanda, who also happen to have done the pictures that litter this review (Howy) and the album art (Amanda), it’s a small world!) and really enjoyed the biting satire that lee injects into his songwriting. His vocal is hard and unforgiving as befits the subject matter of this mild mannered protest song. The laid back music plays second fiddle to the intelligent and acerbic lyrics this time as Lee delivers his most vehement piece of music yet.

A pared back folk tale of ne’er do wrongs, Charlatans & Blaggers puts you in mind of a local’s bar in a small fishing village in the wilds of the north. Tales told through the medium of music about local legends while the weather does everything it can to crash the party. The gentle guitar, easy going rhythm and percussion lay the foundations for Lee’s searching vocal and Stewart’s skill on the strings. An easygoing and unhurried ditty that leaves its mark with the catchy chorus that has me singing along, the bittersweet violin leaving a wistful note as the song comes to a close.

Another stinging rebuke to modern day, small town society, Tumbleweed has a laconic tone to it, enhanced by the slightly acerbic violin. A slightly ironic tune that, to me, seems to be about a younger generation stuck in a society with no opportunities. Lee’s distinctive vocal delivers the tale perfectly, there aren’t many folk singers out there to day who can stand comparison, and the edgy drums really add to the atmosphere while the super smooth bass keeps things ticking along nicely.

The Flycatcher (a cover of a Roy Harper song from his album ‘Unknown Soldier’) takes a winsome turn to sepia tinged nostalgia and the days of the past. The solemn, almost hushed vocals speak of looking back on days long gone, of things lost and yet never forgotten and the dynamic rhythm section and percussion deliver in a determined manner. The guitar almost has a voice of its own and marries with the dignified and reflective strings perfectly to give a really powerfully reflective edge. There is a melancholy feeling running throughout the song, the saddened voice keening for the past, of sorrow and not of hope.

I really feel that Lee has taken on a much more traditional folk direction with this new release and his version of Lines On A Fisherman’s Wife, a 19th century poem that has it’s roots in Hartlepool’s headland and that he wrote the music and chorus for, is a perfect example of this. Somber, downcast and yet sweetly earnest, it wears its heart on its sleeve. Telling the tale of the Fisherman’s wife, the worry and the drudgery of daily life, waiting for her husband to return but not knowing if disaster may have befallen him at sea. There is an ageless grace to the this song, a respect for those that deal with the wild nature of the sea on a daily basis and those who support them. The pared back delivery is sublime and you find yourself listening to it in hushed appreciation and deference as Lee’s reverential tone and the simple elegance of the music combine flawlessly.

There’s a timeless grace to Love Like Autumn where Lee and Edwina Hayes deliver a beautiful vocal performance full of sentimentality and wistfulness. A hint of country seeps into the music and it adds a carefree and untroubled note to the song. Stewart’s delightful violin is the coup de grace, at its most exquisite on this delectable elegant track, lay back with your loved one in your arms and just enjoy the simple wonder of the music.

Weightless feels just like that, ethereal and unsubstantial, the breathless charm of Lee’s vocal and the simple artistry of the piano and violin leave you feeling like your soul has left your body and is flying above you, the whole world in view below. A really short but lovely song that seems to leave a sense of loss behind as it comes to a close.

A heartfelt plea, Don’t Say Goodbye is a love letter to one who you don’t want to lose. Sincere and fervent, there is a mournful tone to Lee’s vocal as he makes his impassioned overture. The music is humble and modest leaving nothing to be misunderstood. The cello and violin are pillars of virtue and the guitar is a refined chaperone giving Lee’s entreaty validation. You are left hanging on a thread, wondering what the answer would be.

Another track rich in its folk heritage, Jessica is a perfect open letter to a loved one, it’s more simplistic lyrics Having even more meaning and power coming straight from the heart as they do. The playful, childlike music has a wide eyed wonder to it, Stewart once again excelling with his captivating violin playing. Lee and Edwina harmonise superbly on the chorus and you just find yourself caught up the overwhelming love and affection that this wonderful father has for his daughter.

A Thomas Hardy Evening is a romantic glimpse of immortality in a dream and is Lee’s take on the pure essence of life – reconnecting with the natural world. As the song fades in, you find yourself totally caught up in its whimsical, dreamlike delivery, every instrument seems to be played in a reverent fashion. The vocals just wash over you with their subtle elegance and I almost find myself rooted to the spot in a trance-like fashion. This song exhorts you to take a step back from the real world, forget the hustle and bustle and give your soul a chance to heal and your body to recharge. The subtle splendour of the strings and the delicate grace of the guitar appear to cleanse the stress and worries from deep within and you come to the end of the song a much happier and more relaxed person than when you started it.

A poignant memoir of family life and a coming of age tale, Fledgling leaves you caught in the last moments of a golden autumn. The fledgling of the title an allegorical creature that must go through the same trial and tribulations as every person who comes into adulthood. The flute taking on the role of the flying bird and giving it life through music. Lee tells us that the innocence of childhood is the same a s a bird flying free in the blue sky, it is a bittersweet tale of the loss of that innocence but then the hope of the future that is yet to come. Listen to the lyrics and let the pure guileless artistry of the music capture the moment for perpetuity, I was left with a lump in my throat as this brilliant song and album came to a close.

My lifelong musical journey has taught me that there will always be something of wonder around the next corner, a musical discovery that will enrich not just my life but many others also. The first time I heard Maddison’s Thread I was hooked and Lee has distilled the essence of everything that made the first album so good and injected it into his latest piece of musical brilliance. ’60 Minutes An Hour’ is an utter musical triumph and should be one of the highlights of 2017 for any lover of great music, I cannot praise it enough.

Released 6th Jan 2017

Pre-orders will be available soon from Maddison’s Thread bandcamp page

All pictures by Howy White

Album art by Amanda White

Review – Arcade Messiah – III – by Progradar

“We are consciousness examining and expressing itself so that it can become increasingly aware of its infinite capacity for being and evolving.”
― Jay Woodman

On the 11th of December this year I shall return to The Bedford in Balham to attend the Masquerade one day festival. This will be the first time I have attended this music venue since the life-defining four days of the Resonance Festival in August. 2014.

Suffice to say those wonderful four days really were my epiphany when it came to the world of music that I now find myself deeply involved with and I will never forget the people I met over that weekend, many of whom have become very firm friends.

My musical tastes and my writing have definitely evolved and progressed since that time and it would be fair to say that the majority of musicians that performed at the festival have developed further and matured as artists as well. One musician I was keen to meet there, and one whose career I have followed before and after Resonance, is John Bassett, erstwhile driving force behind the band KingBathmat and the solo instrumental project Arcade Messiah.

It is the third album (imaginatively called ‘III’) from this solo project that I am reviewing today but, as ever, first we must have some background and history…

John Bassett is an English multi-instrumentalist and producer who currently resides in Sligo, Ireland. Primarily known for writing and producing the music for cult Hastings band KingBathmat, his most recent project Arcade Messiah blends Post Rock, Metal, Doom and Stoner rock into a heavy intoxicating instrumental brew.

All instruments on the Arcade Messiah albums are played by John alone and released through his own Stereohead Records label, making them very much independent DIY releases.

‘III’ is the third Arcade Messiah album in as many years to be released by John Bassett and he had this to say about the album;

“Arcade Messiah III has certainly been a labour of love for me, this is the most I have refined a record to the degree that I have done with this album, I incorporated many new production techniques and have learned a lot from the experience of putting this record together. I’m very excited to release this out into the wild and I hope you guys enjoy it.”

I reviewed Arcade Messiah ‘II’ last year and had these words to say;

“A ‘Wall of Sound’ that makes Phil Spector’s look like a diminutive picket fence and it is quite possibly the best thing this highly talented musician has ever produced.”

John is going to have to go some with ‘III’ to improve on that…

Revolver powers in with an immediate blow to the solar plexus from a monstrous riff that just carries all before it. The cacophony of guitars and drums that follows is just deliciously intense and mad surging ahead on a humongous soundwave of monumental noise and then, hark, what is that? Vocals, yes vocals! but only for a short while and, once you’ve got over the shock, it’s back on the proverbial manically enjoyable hell ride of musical virtuosity. Such a dense and compact sound, it really does pack a powerful punch and the coruscating guitar breaks just add the final touch of demented class. There’s a short break of a more delicate variety but, as it all comes to a close, it’s all you can do to stay upright in the face of such a pleasurable sonic onslaught.

Citadel, even the word conveys thoughts of a steadfast, immovable structure, one that has stood the test of time, war and destruction over a span of centuries and this track lives up to that definition. There is an age old primordial and primitive force at work here and this absolutely gigantic and rudimental riff feels like it has spanned the ages with its weighty and portentous feel. Now you know what Atlas felt like carrying the Earth on his shoulders, there is a supreme density and weight of knowledge at the core of this thunderous song. Almost a soundtrack to the age of Knights and siege engines, it pins you to the floor with its substantial tone. There’s a lull in the middle, like a break in the never ending battle between good and evil, before the dynamic drumming joins the compelling guitars and the hypnotic music powers on. To use a well known phrase from Queensryche’s ‘Empire’, it really does ‘…hit you like a ten ton heavy thing…’

The longest track, coming in and just over ten minutes, Deliverance is, in my opinion, the best track that John has produced as Arcade Messiah. A slow burning, slightly hesitant opening of piquant guitar notes over shadowy keyboards gives an air of mystery and intrigue. The tempo increases with the jingling guitars leading the way, you almost feel like you are being taking on a journey, one where you have no idea of the destination. For those of a certain age, the title will bring thoughts of Burt Reynolds and hillbilly America and you do feel like you could be lost in the deep forest with all sorts of creatures watching your progress waiting to pounce and the tension increases when the riffs begin, aggressive and potent. There is an urgency to the guitars now, both more critical and serious as the overlaying vocal of the title rings out. It is a rush to find succor and shelter, to escape the unknown that lurks in the dark behind the trees and your heart beat increases to match the pace of the music. This song really does get you involved, placing you right in the middle of proceedings, the hunted trying to outwit the hunter, it is really clever how you find yourself as the centre of all that is happening, hanging on every sound and, as the last notes ring out, relief just washes over you.

The feel changes a bit with Life Clock, there is still that vitality and depth to the music but the monstrous, mountain toppling riffs take a back seat for once. A pensive, thoughtful tone exudes from the guitars and seems to soften the sharp edges of the tones coming forth. A feeling of treading water ensues, anticipation or meditation? who knows? I feel an expectation in the air, contemplation of what has gone before and, also, what is now to come. Like the ticking of a clock in a silent room, time still passes whether we are there to observe it or not and, while we live our lives, the days, months and years will continue to accumulate. It is only music, no words, but I get the feeling that we are being taught a lesson here, don’t let life pass you buy, live every moment with no regrets as we are a long time dead, the pugnacious riffing and energetic drumming that close out the track seem to imply that time is running out to do so…

Crunching riffs, immense in scope, lead in a towering tsunami of sound as Black Tree lurches in to view, like some vast mammoth of noise. It almost overwhelms you with its intensity yet you would die happy, like a man drowning in vat of the best malt whiskey. There are the odd interludes where the ferocity and tension lull for a short while but the potent fervor is soon ramped up again and the substantial music regains its impetus and momentum and rides roughshod over all that is unfortunate to get in its way, the unstoppable dominance there for all to see.

After the forceful intensity and enduring dominance of what has gone before, Sanctuary is exactly what you need and it is delivered beautifully by the closing track to the album. A delightful blend of guitars, drums and keyboards that has a soothing effect on your bruised mind and soul. The elegant guitar tone still has a life and vibrancy to it but, this time, it is not trying to pound you into submission. The drums are composed and precise and add a cultured layer to the track and mean it is one that you can let wash over you and reinvigorate you, it is still, obviously, John’s distinctive sound but with a restrained and relaxed feel to it. Don’t get me wrong, I love the huge, continent crushing sound that this amazing musician can generate but this just ends the album on such a lovely, high note and works perfectly.

So does ‘III’ improve on ‘II’ or is it left trailing in its wake? There’s a subtle change of tack going on here as well, a more mature feel to the music, John Bassett can riff with the best of them but has added other strings to his bow in his continual quest to improve as a musician, he has evolved once again with this excellent release, he is really at the top of his game and making his ‘Wall of Sound’ become even more of a unique and elemental force. If I did ratings this would be 9/10 without any argument whatsoever.

Released 25th November 2016.

Buy Arcade Messiah ‘III’ from bandcamp

Review – Bad Dreams – Déjà vu – by Progradar

“When life gets too much and you just want to get off the ride, remember, there will always be music…”

Indulge me if you will, this morning I was pounding away on the cross trainer at the gym, watching Saturday Kitchen. Glynn Purnell was talking to the great Suggs from Madness and Big Big Train’s ‘The Underfall Yard’ was playing on the iPod.

Those who have heard the song Victorian Brickwork will know where I am coming from when I say that, as the scintillating and very moving brass section begins towards the end, time literally stood still and a warm feeling of contentment washed over me. I forgot about US elections and Brexit and all the other ills that seem to blight this world at the moment, all that existed for me at that very moment in time was the music and the music was everything.

Music has the power to make our lives better and almost become tangible, a physical and substantive force for good and I thank whatever high power may be up there that it has become part of my life in a very concrete and irrefutable way.

Today I am writing a review of the forthcoming new album from Argentinian progressive rock band Bad Dreams and ‘Déjà vu’ is a release that evokes similar emotions in this aging wordsmith.

Bad Dreams consists of Gabriel Agudo (Lead vocals and guitars), Jorge Tenesini (keyboards, synthesizers and programming), Alex Calvera (Bass and Moog bass pedals), Ariel Trifunoff (Lead guitars and backing vocals), Fernando Cornejo, (Drums and backing vocals).

Now for an edited history lesson taken straight from the band’s website…

Bad Dreams is the first Latin American classic and prog-rock band to triumph outside the continent. Hailing from Argentina, and comprising five accomplished musicians, they began their prolific career performing Genesis‘ music for a period of more than 10 years, a venture in which they attained worldwide recognition by fans and Genesis members alike; being mentioned in the official website of Genesis and Steve Hackett.

Wanting to spread their wings even further, they took a big undertaking out of their comfort zone in 2014, and released their first album with their own original music entitled “Apocalypse of the Mercy”. The album garnered worldwide recognition among classic and progressive rock fans, and Bad Dreams opened for Steve Hackett and played alongside Steve Rothery and his band during the South American leg of their world tour.

2015 marked a milestone in Bad Dreams’ history, when they became the first Latin American band to take part of the prestigious Cruise to the Edge celebration. After Cruise to the Edge the band played a single show in Miami, and later embarked in tremendously fruitful Central America tour, visiting Panamá, Guatemala, Honduras and El Salvador, before locking themselves up to start working in their sophomore album, entitled “Deja Vú”. The new album will feature Steve Rothery as a special guest, playing an otherworldly guitar solo on the album title track.

https://www.youtube.com/watch?v=f9wGTsErPuA&feature=youtu.be

Bad Dreams have been once again invited to the next iteration of Cruise to the Edge to take place in February 2017, this time around again including the cream of the crop in the prog-rock scene.

Opening track Samurai of the Rising Sun has a slow burning opening, all mysterious and enigmatic, setting the scene for what is to come with it’s strange, almost sci-fi feeling sound effects. The brooding guitar and keyboards ramp up the tensions even more before a staccato riff trades off against some rather nice swirling keyboards. Gabriel’s vocals begin and he has a really passionate vocal style that works brilliantly with the music, holding you in its sway. There’s a feeling of treading water, as if you are awaiting something but it is a very pleasant wait. The music just seems to flow along delightfully, it is immediately obvious that these musicians are technically very efficient and yet their playing also has huge amounts of soul. The song opens up with some gusto with fiery guitars and intricate keyboards and Gabriel’s vocals go up another level, this is classic progressive rock done with a large amount of flair.

So, onto the title track Déjà vu and it is immediate from the first notes that you realise that this is something very special. Ariel’s guitar and Jorge’s keyboards are full of an intense passion and the music really invokes some heartfelt feelings in you. I was hooked from the first time I listened to this song, Gabriel’s voice is almost a lament, full of fervor and a melancholy intensity. This song should be listened to in a dimly lit room, headphones on and a glass of your favourite tipple, it would suit a dark and cold winter’s evening, keeping you warm against the chill outside. Fernando and Alex lead the rhythm section with aplomb before the track builds up with even more added fervor, the keys really driving things along and the vocals taking on more magnitude and severity. To me, it has touches of Fish era Marillion and when Steve Rothery starts to play his utterly mesmerising solo, that comparison is fully realised. His guitar seems to take on a life of its own and I just sat there completely astounded by its brilliance. That’s not to take anything away from Bad Dreams, this is just the cream on the top of a completely enthralling song.

Fallen has a very intricate opening that blossoms into a really powerful track. The guitars, keyboards and rhythm section hit you with a forceful blast before things settle down in to a cryptically esoteric verse. The power returns on the compellingly dominant chorus. Think IQ meets Gabriel era Genesis and you wont be far wrong, I really like the way the song flows and Gabriel’s vocal takes on a a darkly authoritarian tone, as if he is reading from a dark book of secrets. Things move on in a tide of Delphian abstruseness, there’s a perplexing conundrum at play here and you feel that Gabriel is the main antagonist in a play that has a veil of secrecy around it. Ariel’s solo is thing of wistful delight, adding to the riddle posed, and insinuates itself into your psyche before the song bleeds out to a subtle close.

Another serpentine opening introduces Song For Augusto, another brilliant nod to the classic progressive tracks of the 70’s, with a touch of Yes (Soon, if I’m being precise). It meanders around your mind before the winsome keyboards begin and give some direction with their captivating feel. The next part of the song has Pink Floyd writ large above it, the drums and keyboards are absolutely spot on and I can’t help but nod the skill on show. The vocals are emotive and impassioned and add another level of polish to this already impressive track. There’s an urgent feel to the next section, the guitar almost feels sentient as it prescribes every note and then the keys open up into a great organ sound before Ariel gives us a seriously poignant and powerful guitar solo that stays long in the mind after this track comes to an imperious ending.

Moonlight is just over 3 minutes of Ariel Trifunoff’s enchanting acoustic guitar, a whimsical instrumental that has bucket loads of charm under its captivating exterior. A really engaging track that leaves a calmness in your very soul as it passes through your life.

The upbeat feeling carries on with the cheerily satisfying A Trick Of The Wind, a song that is, to my ears, Bad Dreams’ homage to early Genesis. Gabriel even sounds a bit like Peter Gabriel and the guitars have a real Steve Hackett tone at their core. Underneath that charming exterior is a more serious side though and it shows its face now and again. The keyboards really come to the fore in the second half of the track and the interplay with the guitars is sparkling and gives a real polish and refinement to this cultivated song, Tony Banks would be proud.

And so to the last track on the album. Frida is a graceful and tender love song full of sparkle and wit as it dances across your aural receptors. The vocals have a lightness and freshness to them and yet are still full of love and affection and the music just seems to dance lightly and leave gossamer like footprints wherever the notes land. This is a song that can lift any gloomy mood and replace it with a a feeling of contentment joy and hope, the sun is out, the sky is blue and the birds are singing, life is very good indeed.

Released 18th November 2016

Buy ‘Déjà vu’ direct from the band here

https://www.youtube.com/watch?v=b0e1zfMBS6o

All music composed by Gabriel Agudo and Jorge Tenesini except Frida by Alex Calvera and Moonlight by Ariel Trifunoff.

All lyrics by Gabriel Agudo except Frida written by Alex Calvera & Gabriel Agudo.

Music arrangements by Bad Dreams.

Pain of Salvation announce details of new album ‘In The Passing Light Of Day’

Swedish progressive rock/metal innovators Pain of Salvation have announced the worldwide release of their long-awaited new studio album ‘In the Passing Light of Day’ for Friday the 13th of January, 2017 via their longtime label partners InsideOutMusic.

Working together with acclaimed producer Daniel Bergstrand (In Flames, Meshuggah, Strapping Young Lad, etc.) at Dugout Studio in Sweden, the band have crafted an album that sees them returning to their much praised heavier sound, featuring the syncopated rhythms, glorious melodies, and intensely personal themes that Pain of Salvation fans have long loved about the band.

Inextricably linked to the near fatal illness that band-leader Daniel Gildenlöw spent much of the first half of 2014 recovering from, the album is an altogether darker and more impassioned journey. Taking the hospital bed as a narrative hub, the lyrical and musical themes touch on all the conflicting feelings that run through a person’s mind when presented with the prospect of death and the passing of life.

The album will be available as a special edition 2CD Mediabook (including expanded 48-pages booklet, several in-depth texts by conceptual author Daniel Gildenlöw, demo material & band commentary tracks), standard jewelcase CD, gatefold 180g 2LP vinyl plus album on CD as bonus & digital download.

Review – Gabriel – Sacrifice – by Progradar

I love revisiting an artist when they are releasing a new album. It is always great to see how they have progressed and if their sound has changed. I reviewed ‘Unforgiven’ by Gabriel last year and this was my conclusion:

“A classy blend of hard rock, metal and symphonic rock with its own core identity, Gabriel a massive sound for just two people. Pigeon-hole them if you dare, there is more going on with this musical collaboration than you could fit into any one box. Sally Elsey’s vocals are worth the entry fee alone but, with the excellent musical talent of Albert Vinasco at her side, you have something a little bit different and special.”

Gabriel is a collaboration between singer/songwriter Sally Elsey from London and guitarist and recording engineer Albert Vinasco from Buenos Aires. Together, Sally and Albert combine their highly melodic approaches to create music that is both sweet and powerful. Sally primarily composes her music around piano-based progressions and lyrics. The result is a soft, warm and melodic sound that is full of dimension and emotion.

Albert Vinasco: lead guitar, rhythm guitar, bass guitar, synthesizers, samplers, drums and drum programming, arrangements, engineering and final production. Albert is a guitarist and recording engineer whose compositions are inspired by the portrayal of emotional content through modern rock and metal guitar, Vinasco has composed a wide variety of music ranging from intense metal to soft classical.

Together, Sally and Albert combine their highly melodic approaches to create music that is both sweet and powerful. The result is Gabriel. All music is written, recorded and produced by Gabriel (Sally Elsey and Albert Vinasco).

I was approached by Sally earlier this year to give my impressions on their new release ‘Sacrifice’.

The new album sees this talented duo mature and offer a hell of a lot more than what a stereotypical so-called ‘female fronted metal band’ would. You wouldn’t think this so much from the first two or three tracks. Running has the powerful riffing and energetic percussion that typified the previous album. Add in Sally’s distinctive vocals and you have what I would have previously called the definitive Gabriel sound, powerful but with a silken core, Albert’s guitar flwoing freely and giving the music its direction. Falling Down has the symphonic vocal opening again heard often on the last release. There is a dynamism beginning to make an appearance though, something less in evidence on ‘Unforgiven’. Sally’s voice has that gossamer feel that comes from an almost operatic delivery and then the music powers in and gives an edgy aura, almost Karnataka-esque. Both these songs are great tracks and carry on the Gabriel legacy, a sound that invites you in on the promise of more to come. There’s almost something spooky about the intro to Holy water, Fire and Ice before it bursts out in the a pastiche of overblown 70’s blues rock, a very enjoyable pastiche though. The riffing is hard-edge and tight and the drums have all the energy of a runaway locomotive. Sally’s vocals take on a more aggressive and energetic style and the whole track really rocks. A funky, blues tinged hard rocking solo keeps things flying along in a perfectly enjoyable manner and all seems to be in order.

Things take an interesting turn with the wistful opening to Rebecca, a song with an almost Celtic feel to it. The delicate piano note matches Sally’s ethereal vocals perfectly before this track opens up and blossoms into something more solid and visceral. Things ebb and flow with seeming intelligence all of their own, a keyboard that could have come straight from the 70’s adds a wicked aura and the flamenco style guitar picking gives another layer of sophistication. To me, this is where these two impressive musicians take things to another level and really improve their sound adding additional maturity. This carries on with the intensity of Broken, an intelligent song that really raises the heart rate with its heightened intro. Slow and brooding with a dark heart, I really liked the way it seems to creep into your psyche and take over. There’s something I can’t quite grasp going on, something clandestine that is enhanced by the short and calculating guitar solo. A song that really moves the game on for Gabriel. That feeling of unease, of being observed from afar carries on into The Watcher, another deliciously sombre and shadowy song that demands your attention. There are subtle nuances and ruminations at play hear, an heightened intellect that is always just out of reach. The music just seems to roll over you and subjugate you with its dark intentions. The music has moved up several notches in my opinion.

I love the wistful beauty at the heart of Suddenly, a track that grabs at your heartstrings with its melancholy feeling. Sally’s voice has real touch of sadness and sorrow to it in places, it matches the sparse elegance of the music perfectly. The chorus lifts the gloom and sees shafts of sunlight appear fleetingly. This is a song that really plays on your emotions, the lows of the pensive verse in complete contrast to the highs of the appealing chorus. Now to perhaps my favourite track on the album, The Reveal opens in that symphonic style, a winsome and nostalgic feeling pervades everything, gentle piano and soulful vocals blending perfectly to engender a feelgood atmosphere and sanctuary before the guitar kicks in with a smooth riff that just takes me back to some of the great rocks riffs of the 80’s, think Clannad meets Whitesnake (pre-1987)and you won’t be far wrong. A real melting pot of influences and sounds that Gabriel blend together perfectly and a song that shows they have moved their game on considerably. Beyond The Highlands is another track showcasing the new direction that the band seem to be going in, not sticking to any one stricture but successfully opening up their palette of sounds to a number of new influences. It builds up wonderfully to give us something akin to a Mike Oldfield vocal track but with more density and substance. The light and airy guitars are a delight and Sally gives one of her best performances on the album, subduing the symphonic/operatic style for a more rock and folk friendly delivery. It is at this point that I actually went back to listen to ‘Unforgiven’ and it showed me how far that Gabriel had come, the increased sophistication and variety that their music has now.

True Believer is a proper ‘rock’ track in the true sense of the word, powerful and insistent riffing matched by the tireless percussion and the spirited vocals. A proper foot-tapping or even head-banging song that drives on relentlessly, you know exactly what is coming next and Albert doesn’t disappoint with his stellar guitar solo. A really enjoyable ‘balls-out’ rocker that put a big grin on my face. An aggressive riff opens title track Sacrifice and we have an intriguing song in front of us. A bit of low down mystery is added by the subdued music and vocals that follow but that in your face riff returns on the chorus with added attitude and belligerence. I can’t help but be put in mind of that great American band Heart and their break through hit ‘Barracuda‘ with the raw hostility at the core of this song, especially the coruscating and edgy solo, vintage stuff indeed! Benedictus closes out the album in a Latin choral style with the haunting chanting delivered perfectly by Sally at the start of the song delivering a sublimely ethereal and ghostly aura before Albert lets fly with a blistering guitar solo that smoulders with a searing energy. The beautiful vocals return and the guitar plays a vistuoso lament over the top before the song and the album come to a close with the graceful piano and Sally’s tender vocals.

‘Sacrifice’ is an excellent album and one that sees Sally and Albert seriously move their game on from the great ‘Unforgiven’. This release sees Gabriel mature into an exciting band that still hold onto their core values but one that is now happy to explore different musical avenues and incorporate them very successfully into their future direction.

Released July 8th 2016

Buy ‘Sacrifice’ from bandcamp

https://www.youtube.com/watch?v=BAJ60ymn95c

Review – TDW – Aphrodisia EP – by Progradar

(Cover picture by Kelly Thans Photography.)

“Can you expect to cure an itch, when you are wired to the core to revolve ’round it?”

A question that symbolizes the way it sometimes feels if you long for something dearly, but society just blatantly says ‘no’ to your face. This sentiment of frustration, disillusionment, anger and sadness forms the foundation for the brand new TDW songs featured on the ‘Aphrodisia E.P.’

Tom de Wit has helmed his TDW project for 13 years now, starting writing his first music at the age of 16. The proper start was made with 2008’s release of ‘The Haunts’, Tom’s first real album. After releasing multiple albums in its wake, 2014’s ‘Music To Stand Around And Feel Awkward To’ was a record that showed the diversity and intent of this musician’s output. Showcasing that the music of TDW could be intense, layered and heavy at one moment and intimate small and fragile at others.

The ‘Aphrodisia E.P.’ is a special release, part of a pre-ordering campaign that started in September of this year. This is a supporting campaign for the upcoming TDW album ‘The Antithetic Affiliation’, slated for an April/May 2017 release.

The four tracks on this E.P. are completely finished but will also change in their final incarnations on the album. More layers will be added and more nuances will be put into the final versions. Therefore, the songs on this E.P. sound genuinely different to what the final album versions will sound like. This E.P. is a gift for those who support TDW and the musical concept it stands for.

TDW are Tom de Wit (vocals, guitars and synths), Lennert Kemper (guiatrs and vocals), Vincent Reuling (synths and vocals), Hanna van Gorcum (violin, vocals), Peter den Bakker (bass) and Rik Bruineman (drums).

Guests on the E.P. are:

Radina Dimcheva – Vocals on Aphrodisia

Cailyn Erlandsson – Vocals on Dirge

Dave Mola – Guitar Solos on Aphrodisia

Sophie Zaaijer – Violins & Viola on Anthem

(picture by John van der Zee)

The opener on the E.P. is the title track Aphrodisia and it has a very calm and collected introduction with laid back music and delightful, hushed vocals of Tom de Wit and Radina Dimcheva overplaying each other with some lovely harmonised sections. The violin adds a particularly classy touch to the song and you feel that you are drawn along upon a lulling wave of emotion. This is the calm before the storm though as the guitars crash and the keyboards roar and the blue touch paper is lit! Bang!!! off we go on a powerful maelstrom that flings you forward through the sheer forceful power of the music. Excellent riffing and the dynamic voices of Tom and Radina give the song a real energy before we break into a keyboard section that Jordan Rudess would have been proud of. The technical instrumental sections have real virtuosity and skill at their core, proper progressive metal at its best. Trun the volume right up and enjoy the frenetically challenging guitar solo from Dave Mola that follows, this track has it all in spades! I love my mellow pastoral prog but every now and again you need music that just blows the cobwebs into next year and this delivers big style! Then a complete turn around and a beautiful closing to the track as Tom’s vocals deliver a wonderfully winsome ending.

This segues nicely into the melancholy and sombre feel to the opening of Dirge, a song that feels like a lament from the get go. Cailyn Erlandsson’s vocals add a wistful loveliness to the track and, yet, you cannot get away from that feeling of sadness that pervades all. The piano and delicately strummed acoustic guitar add a keen sorrowful edge to the fragile beauty at the heart of this song. A pensive, wistful track that leaves you in a nostalgic mood, looking back at what may have been, the fading glory of the past.

Anthem strides out with a bombastic glee, a thunderous riff and powerful drums powering this enigmatic song right into centre stage. Progressive metal tinged with a bit of power metal, forceful, compelling and dominant, with a guitar sound hewn out of graphite and drums that could fell mountains. The compelling, anthemic chorus adds a nice counter-balance to the mightily potent verse and weighty feel to the music. The guitar solo is mad, manic and, ultimately, a hell of a lot of fun and the way the track closes out is just sublime, I must have put this track on repeat about four or five times with the volume turned up to max, sod the neighbours!

The final track on this excellent E.P. is the electronica tinged Lovesong with its sci-fi sounding keyboards that open proceedings. Tom’s vocals are heartfelt and full of a laid back honesty. I really like the feel of the song as it is completely different to the rest of the tracks on the E.P. It just goes to show the diverse skills that this talented musician and his cohorts have. It is a song that puts you in a thoughtful and pensive mood and the use of Hannah’s soulful violin is perfect as it interchanges with the tender notes of the piano. A real change of pace for TDW that shows a graceful subtlety to their music and one that I hope makes an even bigger contribution to the new album.

So you will have to pre-order TDW‘s new album to get your hands on this little gem of an E.P. and I have to really emphasise the fact that you should. On the strength of these four very varied tracks, the new album is going to be something special indeed and, as a stand alone release in its own right, the ‘Aphrodisia E.P.’ is well worthy of being in your collection, the guest vocals of Radina and Cailyn adding another exciting dimension. Tom de Wit continues to impress me with every new turn in his excellent career.

E.P. released 19th September 2016 only with pre-orders of ‘The Antithetic Affiliation’ which will be released April/May 2017.

Pre-order ‘The Antithetic Affiliation from Layered Reality here and get the ‘Aphrodisia E.P.’

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