Renowned progressive rock outfit Glass Hammer have announced that 16th studio album ‘Valkyrie’ will be released this autumn.
The new release will see Susie Bogdanowicz take lead vocal duties, along with support from founder members Steve Babb and Fred Schendel.
A full on concept album in the vein of ‘Lex Rex’ and ‘The Inconsolable Secret’, ‘Valkyrie’ was rehearsed it as if it would be a show then recorded all of the basic rhythm tracks live. There’s still a lot of recording to do back at the studio.
Glass Hammer are in the studio now, finishing off what could prove to be their Magnum Opus.
There’s a place inside us where we can still be that small child who was in awe of every new experience, every sight and every sound. You know that unfettered feeling of sheer joy when you happen upon a picture book scene that is near perfect. Living in Yorkshire, I get to see and appreciate these virtually every day and they still fill me with a sense of wonder, life’s shackles thrown off momentarily by the sheer beauty of nature.
To be honest, we need these moments of purity and astoundment to counter the wear and tear of everyday life, to stop us being ground down by what can become a normality of drudgery and boredom, a very grey day indeed!
For me, music can often release that inner child and leave me enjoying the purity of something that is intended for you to enjoy and make your very life a better place to be. I have found that, as I get older, music touches me with more and more intensity and really has become my raison d’être and why I will happily get out of bed in the morning to face every new day as a fresh challenge to be enjoyed and overcome.
I’ve been a big fan of Big Big Train for a while now and a self-acknowledged ‘passenger’ along with many other fans of this great English progressive rock band.
After the undoubted success of ‘The Underfall Yard’ and the ‘English Electric’ albums (Parts 1& 2 and then ‘Full Power’) the band decided that the time was right to take to the stage for live performances again.
Unsure how easy it would be to do justice to the band’s recordings on stage, Big Big Train’s now establishedline up of DavidLongdon, Greg Spawton, Andy Poole, Danny Manners, Dave Gregory, NickD’Virgilio, Rachel Hall and Rikard Sjöblom decided to try out live renditions of their songs in a controlled environment.
The wonderful surroundings of Peter Gabriel’s converted water mill, Real World Studios is where the recording took place and, to add even more lustre and brilliance to the event, the five piece brass ensemble that featured on both ‘The Underfall Yard’ and ‘English Electric’ albums was included.
Recorded in August 2014 ‘Stone & Steel’ (the title referencing both the band’s lyrical themes of English landscape and history, and the very fabric of Real WorldStudios itself) documents the weeks rehearsals and the band’s transition from studio to stage.
‘Stone and Steel’ features performances of nine songs recorded live at the Real World sessions and four songs recorded live at the band’s London gigs in August 2015 alongside interview and documentary footage. All live performances are presented in 5.1 and stereo.
I’m not one known for staying power when it comes to watching music DVDs, I tend to dip in and out again but I sat through the whole three hours (including bonus material) in one sitting and loved every single minute of it, that inner child was transfixed by the moment and the spectacle.
In fact, the day I got home and saw that ‘Stone & Steel’ had been delivered, I couldn’t help but be impressed by the quality and design of the Blu-Ray packaging along with the glossy 64 page booklet with some fantastic pictures of the Real World sessions and the live concerts at King’s Place (although my head is obscured by the much more interesting features of the lovely Rachel Hall).
Honestly, like a kid with a new toy, I couldn’t wait to get in in the player and press ‘play’ for the first time……
As with all things BBT, ‘Stone & Steel’ was never going to be a mere performance blu-ray, you always get more than you expect from these guys and the excellent documentary style pieces that intersperse the music are a proper insight into the band and the whole Real World recording experience.
The opening introductory video of the band members arriving and setting up is really interesting as is Greg’s reluctance to be in front of the camera, not that he has much choice in the end!
Having been lucky enough to have been invited to the ‘Folklore’ album launch (more about that and a review of the new album in the next installment…) I get even more of a shiver up my spine as they set up for recording in the ‘Big Room’ and we see David Longdon arriving at reception, I’ve been there!!
We see the unveiling of a work of art, David’s B4 joke (it’s funny, honest!) and you begin to feel part of the whole process, received into the welcoming bosom of the band as a participant in something special.
These interludes, despite being an enjoyable and definitive part of the whole experience, are mere introductory pieces to the main event, the actual musical performances.
The ‘live’ renditions of songs that are extremely familiar to all fans, like members of our own family, are something quite special. From the true story of a man called Alexander Lambert who dived heroically into the flooded Severn Tunnel in 1880, the wonderful The First Rebreather, through the spine tingling version of Master James of St. George with its delightfully intricate vocal melodies, to the rollicking toe-tapping tale of forger Tom Keating that is Judas Unrepentant, I was kept rapt in attention to this masters of their musical art.
Normally I like to absorb music while I am doing something else, almost a process of aural osmosis if you like but, this time, I just sat on the settee and turned up the volume to feel like I was actually there in the studio. This feeling of integration is only enhanced by the rather whimsical delivery of perennial fan favourite Uncle Jack. Performed acoustically in the ‘Wood Room’ at Real World it has a folk meets hillbilly feel and I love its childlike and carefree feel. Dipping out of material garnered from ‘The Underfall Yard’ and ‘English Electric’, we are treated to a rather enchanting & pared-back rendering of Wind Distorted Pioneers from ‘Goodbye To The Age of Steam’, one that takes you away to another place of calm serenity.
Then the lump in the throat nostalgia of Summoned By Bells takes you on a meandering and emotive journey of yesteryear. A song inspired by Greg’s memories of his mother and “the golden thread of continuity running down from the past.” There then follows a haunting version of Kingmaker, a track thatoriginally appeared on their 1992 demo album, ‘The Infant Hercules’. I’d heard this before, a reworked version appeared on the import and iTunes version of the ‘Far Skies Deep Time’ EP released in August 2011, but this interpretation is utterly spellbinding.
There’s no doubting that Big Big Train’s studio albums are works of art in themselves but, to see and hear these singular musicians actually performing them in a live situation, controlled or not, makes you feel quite privileged.
To close out the Real World recordings we are treated to two of the band’s seminal works, both from, possibly, their most venerated piece of work ‘The Underfall Yard’. Here the brass band really come to the fore on this recording, on both the title track and the electrifying brilliance of Victorian Brickwork, these musicians add to the band to give something just, well, utterly astounding. The hairs on the back of my neck rise as soon as I hear the first strains of the brass, something that has become definitely synonymous with Big Big Train now.
There’s over thirty minutes of music spread over these two masterpieces and not a note is wasted. Almost hypnotic in their delivery in this unique setting, it really is a musical experience like no other, you sit rapt, your attention focused on the performers in front of you on the TV set. There is no disappointment just a phenomenal performance of two of the band’s finest songs and, as the final notes of Victorian Brickwork play out, I am reminded of why I love music and why this band attract such devotion from their fans.
But it doesn’t end there, oh not by a long shot! I was also a lucky blighter who was able to attend one of the Kings Place concerts in August 2015 and, as a very welcome addition to the blu-ray package, we are treated to four tracks from those remarkable performances.
(That’s me, right behind Rachel’s right shoulder, I know, you can’t see me!)
From the edgy, sing-a-long high energy of Wassail, through the tear inducing wistful beauty of Curator of Butterflies and the achingly poignant brass enhanced sentimentality of Victorian Brickwork right to the grand finale of East Coast Racer, it was an unforgettable experience and one that I will never forget as I was present at one of those eagerly anticipated shows.
The stunning memories that come flooding back can almost threaten to overwhelm you, such is their severity. I said at the time that it was a life affirming weekend and I stand by that now, even as I cringe at the lone voice (mine) shouting out “apart from the encore!” as a reply to David Longdon’s statement that East Coast Racer would be the last song……
For fans of Big Big Train there is never a feel of ‘Stone & Steel’ being a completist release, one that you buy just so you have an artist’s full collection of works. It stands alone as being brilliant retrospective of the recent endeavours of this most English of Progressive Rock bands. If you are new to this wonderful world, it is also a great introduction to them and one from where you can branch out and further your education (for further it you most definitely should!).
For this inner child it is a musical release that, once again, takes me back to that moment of wonder and delight, that feeling of pure joy that, in this weary modern age, we rarely feel nowadays.
“The gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back of its own weight. They had thought with some reason that there is no more dreadful punishment than futile and hopeless labor.”
The Myth of Sysiphus – Albert Camus
Camus introduces his philosophy of the absurd: man’s futile search for meaning, unity, and clarity in the face of an unintelligible world devoid of God and eternal truths or values. Does the realization of the absurd require suicide? Camus answers: “No. It requires revolt.”
Let me introduce you to the fifth studio release from Cosmograf, ‘The Unreasonable Silence’ is an existential concept album with an alien theme, based on ‘The Myth of Sysiphus’ by the French philosopher Albert Camus.
“It’s essentially a more modern re-telling of Camus’s writngs about makind’s struggle to understand the universe and our role within it”, says the concept’s creator Robin Armstrong.
“Camus desribed man standing face to face with the irrational, longing for happiness and reason which leads to a confrontation between the human need and the unreasonable silence of the world.”
Cosmograf is a progressive rock project lead by Robin Armstrong, a multi instrumentalist progressive rock musician from Waterlooville nr Portsmouth UK. The sound is rooted in 70s classic rock with a contemporary and progressive twist. Influences are Black Sabbath, Deep Purple, Pink Floyd, Genesis, Yes, Porcupine Tree, Muse and many others.
Through four previous albums, ‘End Of Ecclesia’ (2009), ‘When Age Has Done Its Duty’ (2011), ‘The Man Left In Space’ (2013) and ‘Capacitor’ (2014) Robin has been joined by a ‘who’s who’ of musical collaborators to create amazing jewels of intense musicianship woven around immaculate storylines and ‘The Unreasonable Silence’ sees him tackle his most ambitious project yet.
Music produces something inside me that mere life cannot replicate and Cosmograf’s work has, on occasion, opened up the universe with a clarity I haven’t seen before so a new release is always something I am going to look forward to with intense longing.
Robin’s cast of distinguished guest performers includes Nick D’Virgilio (drums), Nick Beggs (bass), Dave Meros (bass), Rachel Hawnt (vocals) as well as a number of voice acting contributions (including my dulcet tones, but don’t let that put you off).
Between our quest for knowledge and refusal of the world to give up its secrets, lies the concept of absurdism. Camus, in his original essay, describes Sysiphsus condemned to a pointless labour, to illustrate the absurdity of human existence. Robin Armstrong twists the story to portray a modern character disillusioned with his own life to the point that he believes his destiny may reside in another world.
‘The Unreasonable Silence’ explores the themes of paranoia, social withdrawal and conformity, and ultimately the search for meaning in our own existence.
“The Absurd is born of this confrontation between the human need and The Unreasonable Silence of the World.”
Echo $abduction is the atmospheric instrumental opening to this theatrical feeling work. It fades in quite ominously with a languid guitar line and atmospheric keyboards. The sound of a V8 Mustang engine piercing the uncanny and supernatural gloom beginning this mysterious paranoiac tale perfectly.
“10ft tall and eyes of black, I saw them on this lonely track, Lights around me in the sky, couldn’t move I thought I’d die.”
This Film Might Change Your Life begins with a distorted soundtrack and then the drums join in before the whole thing erupts with a video game vibe. A voice over holds you rapt, the music rooting you to the spot, holding position perfectly. The cinematic feel is tangible, it’s like a movie running in your mind to which you can only hear the soundtrack. A big riff kicks in, rhythm section complimenting perfectly before Robin’s guitar breaks free on a convoluted, contorted guitar run of intense brilliance. The wait has been worth it, this is Cosmograf and then some. A calmer mid-section precedes another spine-chilling voice over, the tension building before the vocals finally begin. The story begins of an encounter with a supposed alien, the protagonist’s terror is almost tangible. The music and words depict the paranoia perfectly and you are already awaiting the next instalment with bated breath…..
“These toys are the same again, They make the same noise, The feel of the plastic men, imagine their voices.”
A dolent piano note opens Plastic Men, overlaying a telephone answering machine filling up with messages for the missing man. There’s solemn tone pervading the track as the vocals begin with an impassioned note. Dark thoughts from a disillusioned mind, the music imparting this feel perfectly. A massive riff hits you along with Robin’s tortured voice, almost screaming the words. This ebb and flow between the almost cathartic verses, low key and downbeat, and the thunderous delivery of the chorus really plays on the mind allowing you to sympathise with what misapprehensions may be present. Another worried telephone message closes the song with a disquieting feel.
“Ask me what I can see, ceiling pushing on me. Feeling stress in a queue, lost without you.”
Uncertainty and anxiety are at the core of the notions here and the opening to Arcade Machine is no different. Tension builds again, the lyrics convey a man lost in his own world and the music just builds on that thought. Cinematic and theatrical concept music that you feel a part of and hang on every note and word. A wild and heavy riff and impassioned vocals lead into the seriously icy cool chorus, keyboards and guitars whirling around all Pink Floyd like and the bass and drums providing perfect accompaniment. There’s quite a 70’s psychedelia party going on under the conspiracy theory, mind-bending and multi-coloured and you find yourself slap bang in the middle of someone’s kaleidoscopic meanderings. The music is utterly engrossing and absorbing, the guitar solo tears at your psyche, never letting go, deliciously compelling……
“Born. Live Die. Insert a coin, lose a life.”
“The TV’s on. Addiction Strong.”
“John Gibson we are coming for you…”
RGB is a dramatically tense four minutes of delicate music overlaying Robin’s hauntingly whispered vocals. The tension is delivered more by what you can’t hear than by what you can, like the days when you hid behind the sofa watching Dr. Who. It seems to have a hallucinatory atmosphere like you are trapped in the mind of the man who is confused by reality. I really like its nostalgic and obsessive ambience.
“I don’t believe you. When you say it’s brighter on the outside. These walls are friendly. They don’t intimidate or argue or exhaust me.”
A psychedelic guitar opens Four Wall Euphoria with a far out feel to it before the vocals begin, telling the story of a man deep in his paranoia. Stuck inside his own ‘four walls’and happy to be separate from the outside world. A real Pink Floyd sound permeates the whole song with the epic backing vocals from Rachel Hawnt,the 70’s infused keyboards and the funky guitar note.There is a really insular aura emanating form the track, the lyrics speaking of fear, dread, religion and medication. Superb musicianship enhances the believable storyline and you feel as if you are in the middle of a man’s very personal breakdown.
“Hit the road with a tank full of gas. Watch the gauge if you’re driving too fast. Take it slow and the journey is long. Go too fast to the nd of the song.”
For those of a delicate nature, look away now, my voice over is somewhere in The Uniform Road, I won’t spoil the surprise any more. The edgy, suspenseful atmosphere is brought to boiling point by the phone messages and industrial feel to the opening. Harsher notes from the keys and percussion underscore a hushed vocal before a heavy, staccato riff and Robin’s piercing voice ramp up the intrigue even more, real ‘edge of your seat’ stuff. Is it just paranoia or are they really coming? The riff has a feel of Led Zep’s Kashmir to it and the ever increasing power of the vocals give it real stand out presence. The 70’s edge is more and more of an influence as the Led Zep comparison increases. There’s a real sci-fi feel to the off-kilter guitar solo with the impression of lasers firing and you sense you could be in the middle of an alien invasion but, is it real or imagined, this song really screws with your mind in a brilliant way.
“I’ve seen them….”
“I drive to this field. It’s lonely. They need my design. They need my mind.”
Spooky and euphoric, the groove of The Silent Field is definitely full of expectancy and suspense. Our protagonist believes he is going to meet the aliens and seems happily resigned to his fate. The song gets under your skin and definitely leaves a question mark in your mind.
“Leave the ground, I see myself ascending…”
Relativity is a dreamlike song, much akin to the tracks on The Man Left In Space, laid back and chilled even. There’s a surreal aura around Robin’s laconic vocal and the airy guitar note is almost hypnotic. In his self-absorbed psychosis The man really feels he has been abducted and you have the box seat as you absorb and ponder over his experiences. Punchier riffs and more emotive vocals bring an undercurrent of anguish and despair to the song and the restless and uneasy guitar solo and drum beat do nothing to dispel that notion. A deliciously dark track that lays itself bare before and leaves nothing behind.
The final, and title, track on the album, The Unreasonable Silence is Robin Armstrong at his absolute best. A superbly constructed and thought out song that probes and quests and holds your attention rapt throughout. The laid back, uninhibited and self-possessed guitar solo that opens this piece is sublime and then the vocals begin with world weary depth to them that feels like it spans the ages. There are subtle ebbs and flow, hints of things unseen and an intelligence that is most definitely of alien origin. Next comes an utterly mesmerising solo that steals your soul,at this point you raise the white flag and surrender to the stunning and superlative skill on show. The tension then builds to a mouth watering close to the song and the album with Rachel providing the dramatic vocal ending to this sobering and inventive tale, was it all in his mind though?
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.
“For the virtuoso, musical works are in fact nothing but tragic and moving materializations of his emotions; he is called upon to make them speak, weep, sing and sigh, to recreate them in accordance with his own consciousness. In this way he, like the composer, is a creator, for he must have within himself those passions that he wishes to bring so intensely to life.”
― Franz Liszt
‘Virtuoso’ is quite an honorific and Dave Foster would probably hate me calling him this for he is an unassuming and humble man who just happens to be a stunning guitar player. He can make the instrument come alive and even talk to you and, if that is not what being a virtuoso is all about, then I don’t know what is!
Dave is probably better known as the guitarist from the bands Mr So & So and Panic Room and for being Steve Rothery’s foil in the great man’s solo band. Never being in the spotlight but being a purveyor of intense guitar licks, solos and riffs that have gained him renown in the world of those in the know.
His first solo album ‘Gravity’ was released in August 2011 and I was suitably impressed with its mainly instrumental songs that were performed with more than a tongue-in-cheek hint of Joe Satriani or Steve Vai extravagance.
The press release for Dave’s second solo release tells us we have something different in store:
” ‘Dreamless’ follows his first solo release ‘Gravity’ from 2010, although as Gravity was a largely instrumental album, ‘Dreamless’ is, for the most part, made up of ‘songs’, with guest appearances by vocalists Anne Marie Helder (Panic Room/Mostly Autumn) and Dinet Poortman (NOONe) and Dave also sings a few tracks himself.
The impressive line up on the album features guest appearances from Steve Rothery (Marillion), Jonathan Edwards (Panic Room), Yatim Halimi (Steve Rothery Band, Panic Room), Riccardo Romano (Steve Rothery Band, Ranestrane), Leon Parr (Steve Rothery Band), Matthew Cohen (Ghost Community, The Reasoning), Stuart Browne (Mr. So & So), Charlotte Evans (Mr. So & So) and Wal Coughlan (Gary Numan, Luna Rossa).”
Antonio Seijas has provided the artwork and, as with all his work (including ‘Dreamless’), the cover is stunning. The album has been produced by Dave and long time recording partner Al Unsworth and the album has been gorgeously mixed by Al.
(Photo by Antonio Seijas)
So, what has this influential and distinguished musician got in store for us? ‘Dreamless’ is a cornucopia of musical delights, mixing styles and moods effortlessly.
The opening two tracks Cabello and Amitriptyline have a grown up and mature feel, they are songs with more than a touch of classic rock to them (Amitriptyline even has a punky tone to it), sharp-suited and super-smooth. Dave’s guitar is distinctive in sound and intonation and drives these two pieces along at a steady pace. Dinet Poortman has a great voice, full of emotion and lustre and it drips class. The rhythm section does what all great rhythm sections do, holds a steady course without being intrusive. The songs are well written and well crafted and, while adding nothing new, they are delivered with such finesse and artistry that they are going to be distinct anyway. The first song denies us a classic Dave Foster solo but the second follows that up in spades!
Sandwiching the dark and dangerous Black Sunrise (we’ll get to that soon) are the twin delights of New York Rain and Lingering with their wistful andwinsome appeal. Vocals that have more than a hint of folkyness to them are ably abetted by Dave’s guitar which is delicate, organic and even slightly ethereal. If you’ve heard Neal Schon’s solo release ‘Beyond The Thunder’ then you’ll know what I mean. Intended or not, I really get a feel of paring back and returning to nature on these two beautiful songs. Dinet’s voice has a light tone of Joni Mitchell in places, just a gentle catch here and there and it really plays on your mood lifting you to an impossible high with its clarity and refinement. On New York Rain the subtle elegance of Jonatham Edward’s piano and Charlotte Evans’ exquisite backing vocals give a haunting grace and Riccardo Romano adds his tasteful keys to Lingering. Hazy summer days and nostalgic longings abound around both of these refined songs and they are a lingering light of hope in any darkness.
So dark, dangerous and seriously moody, yep, that’s the epic Black Sunrise, a monster of a track hewn from the granite of musical ambition. There’s a mysterious feel around the whole song, the vocals have an enigmatic ease to them and the guitars are decidedly heavy. It starts as a brooding beast that you know is building up to something cryptic and in your face. The monolithic chorus, massive riffs and in your face vocals, are brilliant but, if there is one thing that raises this track well above the norm, it is the enormously incandescent solo that springs from Mr Foster’s guitar, not once but bloody twice, quite superb.
The stylistic mood changes continue with title track Dreamless which begins with a touch of middle-eastern promise before opening up into another smoothly delivered classic rock piece. Dave provides vocals on this song and he shows he has a talent for singing too. A slow building track that opens up with flashes of urbane, harmonised backing vocals and some rakish riffs to give a slight Floyd feel in places. A staccato, off-kilter solo jabs at you to deliver the killer blow. Simple, pared back and gossamer light in texture and delivery, You Have No New Messages uses the twin talents of Dina and Dave to give you a moment of calm in the maelstrom around you. Three minutes of absolute elegance and grace, it calms the soul and lightens the heart.
Ache returns to that ominous, brooding tone and introduces Matty Cohen and Steve Rothery to the fray. A slow, involving number with Dave and Dinet sharing vocals, there is a yearning and longing at the core of its intensity. Taking a more progressive and convoluted route to your mind, the heart of this intricate track is the profound and intense solo that takes a serpentine route across your synapses. A song that leaves a sense of profound loss as it comes to a close. Brahma sees AnneMarie Helder take over vocal duties and has an almost flamenco style guitar opening before her deep and meaningful voice takes over. I like its profound atmosphere and prog-tinged classic rock notes. Clever songwriting invokes a palpable sense of profound anticipation running throughout that keeps you on edge and, when Dave turns into rock-god mode and lets loose with a scorching solo, it is with a feeling of extreme relief.
Another piece of refined brilliance, Counting Clouds is all acoustic guitars, humble vocals and a peaceful easy feeling that permeates all. Ann-Marie and Dave trade vocals with aplomb and harmonise delightfully to create an aura of west-coast joi-de-vivre that wouldn’t have been out of place on an Eagles or Crosby, Stills and Nash release. The guitars are used to compliment the tone and there is an utter feeling of contentedness and completeness as it comes to a close. Our journey through the differing colours and emotions of Dave’s mind finishes with the obscure wonderment of Morphine Sleep. Seven minutes of differing soundscapes with a cinematic feel that is performed in its entirety by Dave himself. There’s a hunger and passionate longing in the sparse delivery of the guitar and a humble aspiration as it offers itself up for your delectation. It demands your rapt attention and you give it willingly as this wide variety of musical personalities and characters comes to a close.
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.
“Tradition is not the worship of ashes, but the preservation of fire.”
― Gustav Mahler
“Tradition is a guide and not a jailer.”
― W. Somerset Maugham
I like using quotes in my reviews, they can give some instant idea of what I am trying to get across in a pithy and memorable way.
Maybe you would say the phrase ‘Taditional Progressive Rock’ is an oxymoron (a figure of speech that juxtaposes elements that appear to be contradictory), how can something seem to progress if it’s traditional and, by definition, resistant to change?
Well, look at it from another angle and maybe the artists in question are not blindly following or copying what they admire but are being influenced by it to take their music to a different level. As W. Somerset Maugham said above, they are using it as a guide to produce something quite unique in its own way.
And to further Mr Mahler’s statement, they are preserving what is loved and respected by taking it further and, yes, progressing what has gone before.
Drifting Sun are a UK-based Progressive Rock studio project which dates back to the early 90’s when Keyboardist/Composer Pat Sanders left his native France for England with Bass Player Manu Sibona. Their music has been described as dramatic, theatrical, & atmospheric, in the true style of prog rock giants such as Dream Theater, Queensryche, Genesis and Jethro Tull, to name but a few of the bands that influenced their sound.
Drifting Sun’s eponymous debut CD was released in December 1996 to positive reviews from across the globe. Following line-up changes, ‘On The Rebound’, the band’s second CD was released in the autumn of 1998. After taking a long break from the music business during which time he pursued other interests, Pat decided to revamp his project, and, armed with a brand new line up, released their third opus ‘Trip The Life Fantastic’ in January 2015.
Now Drifting Sun return with their most ambitious project yet. The current line-up of Pat, Manu, Peter Falconer (vocals), Dan Storey (guitars) and Will Jones (drums) recorded the new album ‘Safe Asylum’ and it was released on the 21st May 2016.
Opener King Of Hearts starts with some dramatic keyboards giving a feeling of apprehension as the track builds before the vocals begin, Peter Falconer has a rather special voice, melodic and very pleasing on the ears. A rising keyboard wail introduces a staccato riff and drum beat that gives the song more impetus. The guitar almost becomes lyrical as it backs the more insistent vocal on the verse. Everything then begins to flow nicely in a song that has more than a hint of the medieval to it. Excellent guitar runs and precise backing form the rhythm section deliver a really progressive feel. This track ebbs and flows nicely between the low key and laid back sections, that are sung in a sort of minstrel style, and the harder edged, more metallic interludes of stylistic prog. Music telling a tale in a jaunty fashion, it holds your attention throughout and the delightful guitar runs and intricate soloing that punctuate the song towards the end are really rather good. An excellent opener to the album.
The Hidden Truth begins with an offbeat keyboard and drum combo that gives it a slightly jazzed up feel. Peter’s vocal then joins in, quite sublime in its delivery. He really does have a voice full of warmth and compassion and it is the true focal point of this track. The music acts as a wonderful canvas on which the vocals can be painted. The delicate guitar and precise harmonies give a feel of a laid back Moon Safari to the song and the graceful solo adds some serious panache. This song draws you into its wistful, gossamery embrace before a burning guitar solo breaks out to add some fierce passion to the fine-grained aura of the rest of the track.
Let’s turn up the tension a notch and move into firmer neo-prog territory with next track Intruder. This was the first song that Pat let me hear from the album and the one which hooked me in immediately. A repeated synth note opens proceedings before a calming bass line and drum beat underpin a swirling guitar and the vocals begin, adding a sense of momentum. Hold for a chugging riff and we are off on a heavier musical trip. The powerful crescendo of the chorus is quite addictive and, as Peter’s voice starts to hit the high notes, the transformation is complete. Heavy and precise riffs join stylish keyboard runs and everything is held together by the glue of the superb rhythm section. It comes in at over ten minutes long but never feels like it is outstaying its welcome. Properly progressive and yet quite dynamic and compelling, the repeated ‘I’m The Intruder’ line sticks in your mind long after the song has finished. Intricate keyboard wizardry is joined by some sophisticated guitar playing to lift this above the ordinary and into the arena of the distinctive and, as it comes to a close, replete with chugging riff and repeated chant, I find myself silently nodding in rapt appreciation.
That medieval bard-like feel returns with the ethereal and winsome delights of Alice. A calm and collected acoustic guitar and tender piano begin the song before Peter’s bewitching vocal joins in. The addition of the pleasing flute and string arrangement adds even more gravitas to this charming song under which there runs a slightly melancholic tone. There is an aura of nostalgic sombreness running throughout, a longing for something lost and never to be found perhaps? I can feel a lump forming in my throat and I must have something in my eye! The superlative strings and flute add an almost otherworldly feel to this beauteous piece of music and, when it comes to a close, you feel ever so slightly lost for words.
Wonderland opens with a keyboard introduction, backed by acoustic guitar before the storytelling continues in a superior vein. All echoing harmonies and precise instrumentation, it is captivating and quite wonderful. It is progressive rock but with a theatrical edge, in fact, when the pace picks up and the guitar riff breaks out, I am reminded of early Queen, Peter does have a touch of the Freddy Mercurys in his vocal delivery at times and the guitar has a magical voice all of its own. With the titles Alice and Wonderland you don’t need to guess the subject matter of these two tracks (and album) which weave their own little conceptual ideas around your brain. The dynamic section in the middle of the song just knocks you back with its energy and dynamism and the guitar work that follows is pure genius, Dan is seriously channeling his inner Bryan May here with a solo of technical wizardry and yet one that is full of emotion. These are some seriously clever and extremely competent musicians that are on a real high with this album and it shows on this ever impressive track.
That theatric and showy feel returns with the melodramatic Gods. This is not just a collection of songs, it is also a collection of stories and tales and one that you could just about imagine watching in the West End of London as some sort of Rock-Opera. Again that showy feel, reminiscent of Queen, is present in large quanitities, Peter’s vocal brilliance and the virtuoso playing of Dan give it tongue-in-cheek pomposity. The keyboards swirl and envelop everything with this musical sheen and the drums and bass sit there supremely confident in the background, the rock on which everything else is founded.
The next two tracks are so entwined you could see them as one. The yin and yang of Desolation and Retribution. Two sides of the same coin, the dark and the light. Desolation has a feel of the darkness of Opeth mixed with the subtleties of Mystery. Almost mantra like vocals, subdued and solemn, give an occult feel and the music plays out as if it is a Greek Tragedy, the nebulous solo a case in point. It is quite ominous in tone and atmosphere, leaving you crestfallen and subdued. The segue into Retribution is some edgy and jazzy drums followed by a riffing guitar and Peter hitting the highest of high notes, the blue touch paper is lit and we are off! Fast paced and upbeat, this track is a stellar opposite to Desolation with its great harmonies and irrepressible riffs that are delivered in a symphonic prog hue. Overblown and unapologetic it fires off into the distance strutting its stuff. The solo is forceful and in your face and the whole song just rides over anything that gets in its way like an irresistible force.
There are two instrumental bonus tracks on the version I received and, in the interests of completeness, I must mention them.
Emphasis (For Sienna Joy) is a lovely little piece just over one minute long that just dances lightly over your aural synapses to leave a very satisfied feeling in your heart and soul and Vagabond is a more potent and charismatic piece that focuses on the guitar to give a feel of a Joe Satriani song. The excellent interchanges between guitar and keyboards give it some added zest. These two tracks, while not exactly necessary, just give the album something extra and I really enjoyed them.
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.
“Storytelling–that’s not the future. The future, I’m afraid, is flashes and impulses. It’s mode up of moments and fragments, and stories won’t survive.”
― Dexter Palmer, The Dream of Perpetual Motion
Knowing the brief attention span of most of today’s music listening populous, used to flashes of music, the instant gratification of MTV and three minute songs, would you release an album that ran for fifty seven minutes and yet had only one track on it? No, neither would I….
Well.that’s what Finnish duo Thence did with their debut release ‘These Stones Cry From The Earth’..
“We are the edge of the biggest ride in history. Is this the year when the cosmic clock finally runs down to zero days and zero hope? The deepest questions of our time are looking for answers from the past, facing alarming complexity. Vanishing species…or something? Thence is something from there. Just to feel the ambience of the surrounding world.”
Deep? quite so, this was the concept behind that first album, the music began to grow and the band felt that it must be done in this way. The album was composed and recorded almost at the same time, maybe that is the reason why the listener cannot leave it unfinished, and must listen it to the very end.
Juha Sirkkiä founded the band in 2003. However, the band had been kept in limbo until Erno Räsänen joined the band and immediately from that day they started making the first album and it finally saw the light of day in 2011.
To my ears, it was one of the most exciting, deep and innovative albums of its day. Yes, for most mere mortals, the idea of a 57 minute long track making up the entire album was, perhaps, too much but, for those of us with the requisite attention span, we were treated to an absolute musical delight.
2016 sees the duo return with the long awaited follow up ‘We Are Left With A Song’ which, this time consists of seven tracks instead of one long ‘paragraph’. The content itself has remained, broadly the same: all kinds of emotionally descriptive, diverse and beautiful music.
““Hope. Maybe it is the best adjective to describe this album. It’s a feeling, and it is wished that, after all the difficulties, there is always hope.” saysJuha Sirkkiä,of the album’s theme.
Opening track I Burn The Day, The Ghost begins with birdsong and a very slow building guitar, low down and sombre and also quite apprehensive. You’re on edge, awaiting what is to come and then, bang, we’re off. A thunderous riff and epic drums power to a massive crescendo of all consuming music that takes you aback. Once you’ve recovered, the pace eases slightly as the laid back vocals begin, not to say things have calmed completely as the keys wash over you and the music drives you on. A huge wall of luscious sound assails your very soul and Juha’s slightly muted, if very noted, vocal guides you along the pathway to hope and salvation. A fast paced, powerfully upbeat and yet slightly dark tinged song that opens your eyes and awakens your senses and closes out with a lonely piano note.
No One, Anyone, Be Someone opens with a lazy, wistful tone to the vocals and the music. All moving languidly along, unhurried and impassive. The catchy riff gives it some sort of impetus but that feeling of mellow, unhurried tranquility remains at the core. As we move through the track it takes on a more dramatic and theatrical feel as the keyboards take on the feel of a string section and bring a huge wave of emotion to run over you. Then an absolutely delightful saxophone solo adds a huge grin to my face, and no small amount of grace to this impressive track, as unexpected as it is brilliant. A pensive track that opens up to deliver a feeling of hope and optimism.
The opening to Abundance is wistful and silky smooth and you just feel yourself going with the flow as its gentle air of expectancy draws you in. The drums pound out a rhythm that gets under your skin before a suitably graceful and elegant guitar note takes up the baton. I find a sense of serenity take over my whole being as this composed and self-possessed piece of music lets me join it on its effortless travails. Juha’s vocal is totally relaxing and unruffled and matches the mood perfectly. This song leaves you in your own bubble of self-absorption as an undemanding, subdued guitar solo flows around your mind, wonderful.
There is a feel of 90’s techno synth to the opening of It Is Truth That Liberates, even the title has a touch of Massive Attack to it. The guitar is only hiding in the background though and opens up with an aggressive and dynamic riff to counter the slightly spaced out feel of the keyboards. Another track where that dense and substantial soundscape, immediately recognisable as Thence, takes centre stage before a coruscating guitar adds fire and incandescence to the mix to give a uniquely memorable sound, a complicated tapestry of music is laid before you for your delectation.
A slightly distorted guitar note jars your senses at the opening of Pursue as it jangles and resonates inside your head. A hushed, yet passionate, vocal joins the music to give a feel of yearning and hunger. A cool bass line adds gravitas, the drums and percussion giving an undercurrent of longing. You feel this is building up to something as the pace begins to pick up slightly, there’s still an anxious and expectant aura that hangs over everything though. The trance is broken by another monstrous riff that hits you hard and grabs your attention before Juha’s crying guitar adds another edge of despair but wait, you hear a baby’s cry and sense a lifting of something oppressive, there is now more of a feeling of hope central to the music. The piano that takes up the reverie is thoughtful and reflective, it heralds the introduction the superb saxophone again. You are taken on a wondrous journey of sound and tone, one that touches your very heart and soul and, as the brilliant guitar joins the fray, it becomes an almost rapturous and utterly captivating musical experience that closes out to the yearning refrian of that extraordinary saxophone.
Oars In Our Hands opens with a seriously ominous tone, the note of the keyboards giving a feeling of foreboding before the heavy riffing begins and gives it a solid impetus and deliberate feel. This track is the one that reminds me the most of ‘These Stones….’, the scenic sound that fills the horizon and the arena filling vocals. A wide vista of musical theatre that is delivered to your senses and one that engrosses and enthralls at every turn. There is a unique quality to the music that comes from Thence and it is one that I hugely admire as this duo defy what you expect to hear from two musicians. The drama unfolds before you through the music and keeps you intrigued and immersed thoughout, once again, the potent and compelling ending to the song leaves you on a high.
The final seven minutes of the album is devoted to Life Will Get You Eventually, another song that is more than mere words and notes on a page. A melodic, symphonic soul cleansing journey of affirmation and expectancy is laid before you in its genial grace to leave you feeling like you are on the shore of an ocean as the waves gently lap around your toes. An almost infinite space lies in front of you as you gaze towards the horizon, a melodramatic scene indeed but one that this hugely involving tune imbues. The heartfelt, sincere vocals touch you deeply and the rest of the track envelops you in its sonorous embrace, as it comes to a close I honestly feel like I have been changed inside for ever, emotionally cleansed by what I have just experienced.
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.
I’m a well known fan of instrumental music. I like calming, sublime tracks that elicit a feeling of grace, calm and serenity. Take Tony Patterson’s ‘Equations of Meaning’ for instance, 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.
However, there are times when only a metaphorical kick to the nether regions will do, a powerful statement of intent that literally knocks you backwards with its aggressive delivery and sends you on a spaced out trip with some psychedelic touches.
You have bands like With Our Arms To The Sun and SDANG! that exist at differing ends of the kaleidoscope of that powerful and mind-expanding spectrum of heavy instrumental music and I would now like to add German trio Godzilla In The Kitchen to that impressive club.
Godzilla In The Kitchen is a three‑piece instrumental progressive rock band from Jena, Germany. All the band members were infected early by the work of great progressive and alternative musicians such as Pink Floyd, Marillion, Tool, Faith No More and Helmet, to name but a few.
In 2011 they started their first rehearsals, trying to combine all the different musical aspects tabled by every single one of them to create a unique mixture of melodical recognizability and rhythmic complexity. After three years of on-stage experience and practice these three guys decided to finally get their work pressed on a more tangible and of course a more sellable format.
So they started recording sessions in April 2014 and – after more than one year of recording, mixing and mastering a total of 10 songs with around 60 mins playing time – they were very proud to release their self-titled debut album in May 2015.
Felix Rambach. The living drum-machine, brings in all the complex framework to keep the strings together. If you can imagine a rhythm, he plays ist, even backwards if you like.
Eric Patzschke. Somewhere between classical harmonics and a chainsaw you find the sound of his guitar, shredding very earthy riffs, sometimes heavy, sometimes out-of-space light.
Simon Ulm. The third wheel, because every band needs a bassist. He makes all that complex stuff sound nice and goovy. Sorry girls, he’s married. To his Bass.
This trio of musicians meld really heavy psychedelic, trance inducing rock music into one semi-cohesive whole.
From the uber-heavy, massive riff laden powerhouse groove of opening track Up The River, all the way through to the schizophrenic paranoia of closing cut The Fridge, there is no let up in the intensive musical mayhem that ensues. The edgy riffing, frenetic drumming and huge bass lines that you are treated to take no prisoners and listen to no authority but their own.
You want slow burning, brooding and oppressive then these guys can deliver it. Listen to the thunderous elephantine grooves of Broken Dance and The Turn and you will see a mind meld between funky stoner rock and dark and dangerous doom metal and one that plays off brilliantly.
I really like the upbeat and funky opening of Elis Speech with Felix’s almost jazzy drumming, Eric’s pleading guitar note (that has more than a touch of Satch to it) and the ever stylish bass of Simon completing this talented triumvirate and infusing this song with that West Coast feel of The Red Hot Chilli Peppers at times. Contrast that with the darkly dense macabre tone of Propagation Of Violence, a track that descends into the semi-lucid depths of industrial tinged metal, at times a glorious rock out to tones of thrash guitar and psychotic drumming and at others a pensive fall into blue funk and perturbation.
Dr. Moth is a funky consciousness-expanding trip into a hallucinatory world of contrasts between darkness and light and good and evil and Stick To Your Daily Routine is another introspective and reflective track that plays as if it has the weight of the world on its shoulders. A sombre, warning edge runs throughout its eleven minutes of saturnine and portentous overtone.
Provoking As Teenage Sex is a skittish, uneasy and uptight three minutes of paranoia that really gets under your skin and keeps you on your toes with its restive feel.
My favourite track on this release is The Universe Is Yours. Another eleven minute track with very much its own agenda. Undemanding and unhurried on the surface, there is a reserved undertone of melancholia that runs throughout. It leaves you with a feeling of unease, and a nervous titillation in your mind. A piece of music that gradually draws you in to its embrace, intentions unfathomable as you are pulled further into its hypnotic clutches. Deliciously creepy sensations run through you as the music continues to entrance your very soul, leaving a feeling of exploitation but one that you would defend to your very grave.
I love it when good music comes at me from left-field, bands that I never knew existed but are exceedingly worthy of my attention. Godzilla In The Kitchen deliver some seriously deep and psychedelic music that is not for the faint of heart. Trust me, don’t try to understand it, just enjoy it to the full!
“To send light into the darkness of men’s hearts – such is the duty of the artist.” – Robert Schumann
“Mournful and yet grand is the destiny of the artist.” – Franz Liszt
I like music that is written with love and dedication, not music that is written for the sole purpose of making some fat cats rich. I love music that has meaning, substance and aspiration, that has come from deep in the heart and soul of the artists creating it.
Music moves me, succors me and mirrors my life through good and bad. I would be fair to say that, if it wasn’t for music, I wouldn’t be the rounded person I am today (no sniggering at the back thank you!).
There are certain bands that have delivered a new piece of wonder at exactly the right time, just when I need it to get through a difficult period. One of those was the Norwegian progressive rock band Airbag when they released their 2013 album ‘The Greatest Show On Earth’.
Their music is perhaps best described as scenic, epic rock or, as legendary Classic Rock Magazine said: “Reminiscent of a late-nite, laid-back Pink Floyd”. However you look at it, that record helped me immensely and I went on to say in my review:
“My life’s journey through the world of music has often been enjoyable and I have ploughed many depths and crested many rises over the years whilst searching for the music I love. I can honestly say that it is not often where I am moved to call a piece of music near perfection or feel that it has had an actual impact on my life but, in Airbag’s The Greatest Show on Earth, both those statements ring very true.”
So, it won’t be difficult for you to imagine my interest being exceedingly piqued when I was notified of a new album coming from this amazing band in 2016…
Airbag was formed in 2004 by 5 class mates from Oslo, Bjørn Riis (lead guitar), Asle Tostrup (lead vocals & rhythm guitar), Jørgen Hagen (keyboards), Anders Hovdan (bass) and Henrik Fossum (drums). The band released 3 EPs over the next 4 years before 2009 saw the release of ‘Identity’, the album consisting, mainly, of tracks released on 2 of the EPs.
The further release of 2011’s ‘All Rights Removed’ saw the band gain a solid following and reputation among both fans and the press which was cemented by their most successful release to date, the previously mentioned ‘Greatest Show On Earth’. Airbag has also become a solid live-act playing at several major festivals and as support and in double-bills with bands like Marillion, Anathema, Pineapple Thief, Riverside, RPWL and Gazpacho.
Of the new album the band said:
“‘Disconnected’ features six songs reflecting on the theme of alienation between the individual and society, what society expects from us as individuals, and our resultant failure to live up to those expectations. Each of the six compositions depicts the state of feeling on ‘the outside’ and out of touch with oneself and those around us.
Musically, we’ve explored new sounds and ventured deeper into creating soundscapes, textures and dramatic arrangements.”
(Photo by Anne-Marie Forker.)
Opening track Killer sounds very U2 like with the chiming guitar riff and metronomic drums driving it along, illusive keyboards adding a sophisticated backdrop. Bjørn Riis’ guitar is subtle in its delivery, stylish and urbane before Asle Tostrup’s instantly recognisable voice takes up the story. Full of emotion and sentiment, it washes over you with its velveteen aura. I find myself immediately drawn into this smart and urbane soundscape, enticed by the smooth brilliance of the music. Bjørn delivers a gorgeous solo, full of pent up passion and elation, that makes the hairs stand up on the back of your neck before the track segues into an instrumental section of depth and empathy that transfixes you on the spot. Anders Hovdan and Henrik Fossum provide a rhythm section par-excellence, unobtrusive and yet paramount to Airbag’s signature sound and the dynamic and powerful close to the track is superb with Bjørn’s spine tingling guitar hypnotising you.
Broken begins in a much more subdued fashion, a lonely acoustic guitar providing the plaintive, sparse soundtrack. It is quite mesmerising and that feeling intensifies as Asle’s wistfully mournful voice joins the fray. A wandering guitar note and delicate drums join with Jørgen’s ghostly keyboards to paint a refined scene before you. The tempo increases and the guitar seems to cry a lament before the vocals add a real heartfelt timbre to this rarefied song. I sat myself down in near darkness with my headphones on and a glass of red wine to listen to this track and it suited the mood perfectly, sombre and contemplative. The unhurried grace and delicate wonder that this track imbues leaves you caught in a moment, unable and unwilling to move on, as Bjørn’s dreamy yet mournful and meditative guitar takes centre stage. Seven minutes of pure grace comes to a somber close and you let the silence envelop you, secure in your solitude.
Darkly mysterious sounds open Slave in an enigmatic and cryptic fashion. A slow building and slow burning introduction that puts you on edge before Asle’s vocals add an even more secretive edge to proceedings. A deliciously cabalistic guitar tone from Bjørn sets your teeth on edge and the slow, monotonous nature of the drums does nothing to calm the nerves. Like a supine irresistible force this song continues to seduce your darker side and drag you into its open arms, enslaving your body and soul. The deviant wandering guitar spirals around your mind, indoctrinating you with its hidden mantra leaving you unsettled and yet oddly satisfied. You wouldn’t willingly invite it into your embrace but are strangely comforted when you do.
A nostalgic and nomadic tone envelops the opening to Sleepwalker, unhurried and stress free, the delicate acoustic guitar and lush keys add to the artful drums and bass to provide a perfect backing to Asle’s humble and unpretentious voice to enshroud everything with a feeling of calm and composed serenity. Periodically the song blossoms with the power of the understated guitar adding sheen to the earnest vocals, a perfect counterpoint. Once again Bjørn lavishes a truly emotive guitar solo upon us, one that seems to flood your very being with its passion and fervour and the track closes out with a composed and unruffled ending.
Disconnected is the longest track on the album and this title track is full of complexity, elegance and composure. The introduction leaves an aura of anticipation before the tentative vocals increase the expectancy. A compelling and persuasive chorus adds a further note of desire and hunger as this deeply perceptive and profound song reveals its hidden depths and convoluted layers. Every musician is on top form but Bjørn seems to give his guitar a life of its own as it entrances and entices with its rapturous delights. This marvelous musical mosaic takes you on a journey of enlightenment and discovery where you find something new and different at every turn. The final guitar solo is bewitching and addictive with every note and you are left with a massive feeling of fulfillment when this stunning song finally comes to a close.
The final track on the album, Returned, seems to take Steven Wilson at his best and improve on it. A really beautiful melody with jangling guitars and a dreamlike aura, it has an inherent nostalgic finesse and celestial allure to it. The vocals are heartfelt and sincere and the music just seems to wash over you to leave you in a state of hushed tranquility and peacefulness. This is songwriting that moves you and affects your very being and is a wonderful way to close out this outstanding musical release.
Once again Airbag have produced a collection of songs that have moved me to my very core. Every word they write has an inherent meaning and every note is in the perfect place. This is music for the soul that has come from the soul and, as such, will stay with you forever. A complex, absorbing and enthralling fifty minutes that you must have in your life as it will be so better for it.
“You can decorate absence however you want- but you’re still gonna feel what’s missing.” ― Siobhan Vivian
Bloody hell, I didn’t realise it has been 8 years since Frost*, the brainchild of seminal keyboard wizard Jem Godfrey, released their last album ‘Experiments In Mass Appeal’.
This was a band who I saw supporting Dream Theater in Leeds and, despite the fact I’d never heard of, or anything by, them, was utterly blown away by the combination of incredibly complex keyboards and fizzing guitars which, combined with impressive melodies, gave us the breath of fresh air that was the ‘Milliontown album in 2006, one that is still revered in hushed tones to this day.
My love of Dream Theater began to wane in earnest that evening but I have been waiting with bated breath for news of a new Frost* album.
So, to bide the time awaiting the new record I came up with imagined scenarios as to what Jem could have been up to in the intervening years (I know, I need to get out more).
Have any of you watched DC Comic’s The Flash? I bet a few of you have but, if not, a quick summary.
Uber genius Harrison Wells has his own particle accelerator (like you do) at his company Star Laboratories which goes into meltdown and causes a huge explosion. Some of those caught up in the blast end up with super powers, Meta-Humans, some good and some bad.
Now, imagine if our Jem was one of those caught in the fallout and his supercharged, manic energy came as a result of the Star Labs explosion? (still with me?, good!) and he has been kidnapped by some evil Bond villain and forced to sit in a room and churn out turgid mainstream hits for the last 8 years?
Enough to send you mad, you would agree? Not Mr Godfrey, upon his exciting escape, he set about writing the latest Frost* album ‘Falling Satellites’ and put all of his near 8 years in captivity into this latest bombastic musical extravaganza!
On ‘Falling Satellites’ Jem Godfrey is joined by long term collaborator John Mitchell (Lonely Robot/It Bites) on guitar and vocals plus Nathan King (Level 42) on bass and drummer Craig Blundell (Steven Wilson).
“This line-up has been in existence since 2010 and is now the longest version of Frost* that there’s ever been”, says Godfrey, “so it’s strange to think that this is the first time we’ve recorded an album together”.
There are 11 songs in total with the final 6 songs forming a 32 minute long suite called “Sunlight”. Within this collection of songs comes an unexpected guest appearance from none other than Grammy nominated guitar legend Joe Satriani.
As to the album’s theme… “It’s about chance and life. The astronomically unlikely chance of being conceived to start with and then surviving to old age”, Godfrey says, “the near impossible odds of the things that happen to you in life benefitting you rather than killing you are gigantic and yet it happens all the time. It’s about celebrating how extraordinarily rare the period of us being alive is and how we should take more time to appreciate it while we’re here. We’re a long time dead at either end of this brief little flicker.”
What were we going to get after eight years? opening number First Day is a short introductory track that has Frost* writ large all over it, reverential keyboards and hushed, breathy vocals given a real sense of anticipation before we get into the new music proper…. Numbers showcases the new high energy prog/pop style perfectly with a funky keyboard intro, full of energy and innovation. The harmonised vocals are excellent and you just find yourself toe-tapping madly to the addictive sound of crunchy guitars and Jem’s manic keyboard style. The fast paced guitar licks and solo add even more impulse to this high octane four minutes of near-perfect musical vivacity.
How do you incorporate dub-step into progressive pop music? I have no idea but Jem Godfrey obviously does! Towerblock begins in quiet, reverential fashion, all calm and collected before all hell breaks loose and a really dynamic and grungy keyboard takes over. To be honest I had no idea what to make of it at first but, do yourself a favour, just go with the flow and it soon starts to make addictive sense as it gets under your skin. Flowing, fluid and off the wall keyboards writhe around never quite letting your brain comprehend them and Jem’s fiercely protective vocal gives a serious edge. It really shouldn’t work but it does, gloriously, as you find yourself playing air keyboards and jumping up and down (what do you mean, you didn’t?). One of the most innovative and fresh tracks to hit progressive rock in many a year, I loved it, the utterly demented keyboard and drum frenzy that closes out the song is inspired.
The calm after the storm, Signs begins as a wistful and whimsical delight with carefully delivered vocals before opening up with a monster riff and some towering keys. The rhythm section of King and Blundell (new cop partnership anyone?) ably providing support. the track flows between these calm amd collected verses and the lofty and imposing chorus where the organ-like keyboards add a real note of veneration. A superbly crafted piece of songwriting with some punchy powerful riffs that showcase Mr Mitchell’s guitar prowess and an utterly compelling performance behind the kit from Craig Blundell. This song sees a more influential return to the expansive and charismatic soundscape well beloved of Frost* fans everywhere and brings a smile to my face. Oh you thing of infinite wonder and delight, Lights Out is a gorgeous little track that pulls at your very soul with its unclouded resplendence. The keyboards have an ethereal edge to them, Craig’s drumming is sublime and the vocals have a soft yearning feel underlying them. A touch of longing fills your soul and you drift away on a cloud of well-being, notably Frost* but with a new and stylish veneer. Belay that feeling of goodwill, the high-energy intro to Heartstrings takes no quarter and fills you with a feeling of expectation. That keyboard heavy sound returns and the instantly recognisable and harmonised chorus could only be Frost* at the height of their powers. Like a white water ride in a tumbling raft, the irrepressible dynamics of the song pull you along in their wake, an utterly willing victim of its charismatic persona. The final repeat of the chorus feels like an outpouring of emotion as the track closes out with a hook filled ending.
The whole album is full of superb tracks and this is only intensified with Closer To The Sun. Another fine exponent of the new found pop sensibilites it just feels right. The introduction is catchy, upbeat and utterly persuasive and has a feel of lazy summer days without a care in the world to it. The vocals are kept in the background and everything is expertly subdued before John Mitchell delivers another spellbinding guitar solo that squirrels through your mind, touching every sensory receptor before making way for Jem’s potent and progressive keyboards that tell a musical tale all of their own. Zone out these two musical maestros though and you can hear the notable chops that Nathan and Craig bring to the party. If the previous track was smoother than an otter’s pocket (thanks to Robin Armstrong for that gem) then (deep breath all) Raging Against The Dying Of The Light – Blues in 7/8 is as forceful as a tsunami. The thunderous opening is dominated by the evil sound of Jem’s keyboards, literally blowing everything out of their path. The vocals have a real dark edge to them, forceful and demanding and Craig really gives his kit a work out. The real star of this track though is the hugely demonstrative tone of the keys as they forge their own way, brooking no argument. The occasional lulls only seem to enforce the aggressive and potent intent of the rest of this red-blooded track, it’s like Frost* on something entirely illegal, it shouldn’t be allowed, just be glad it is! I do like a good instrumental from these boys and they really scaled the heights with Hyperventilate from ‘Milliontown’ so it was great to know that ‘Falling Satellites’ would feature it’s own. Nice Day For It….. is another great track, technically it’s not fully instrumental but you’ll forgive me that foible I’m sure, that just seems to flow perfectly from beginning to end, all the musicians working in perfect harmony to deliver a near flawless slice of melodic precision that is just bliss to the ears. It rises and falls superbly, the keyboards being the driving force once again, guitar adding the finishing touches and drum and bass playing the perfect wingmen.
Hypoventilate is a two minute wall of sound, a musical force of nature that blots out the Sun around it. An slow burning, brooding and intense musical experience that just knocks you over, leaving you senseless before the gentle persuasions of Last Day pick you up and get you back on your feet again. The tender, mellow piano matching the placid, if a little care-worn, vocals to close out ‘Falling Satellites’ in a nostalgic, sentimental, even slightly regretful, manner.
So, after an eight year hiatus Frost* have returned with a triumphant third album that ticks all the relevant boxes for this tired old music hack. Definitively Frost* and yet with a distinctive lustre and some rather inspired new sounds that give it even more depth. Instantly accessible but, also, with untold layers of sophistication, oh bugger, this musical year just keeps getting better and better!
“A good marriage winds up as a meeting of minds, which had better be pretty good to start with.
When minds meet, they don’t just exchange facts: they transform them, reshape them, draw different implications from them, and engage in new trains of thought.”
I know, you’re wondering what the heck am I going on about now but please lend me your ears and I shall explain….
When I heard that the instrumental progressive rock of Red Bazar was courting the vocal and lyrical talents of a certain Peter Jones of Tiger Moth Tales fame I, being a natural optimist, was certain it would be a glorious union.
I’d listened to the odd track or two from Red Bazar and had always been impressed by what I’d heard and, as for Peter, I’m sure you know I am a long term fan of this mercurial musician (and very nice bloke).
But, as well as successful accords, history is littered with stories of disastrous tie-ups, now you could bet your house on this joining together of musical marvels being a success, however, until you hear the material of the new partnership, you can never know for sure…..
Red Bazar formed in 2007 with Andy Wilson on guitar, Paul Comerie on Drums and Mick Wilson on bass and keyboards.The trio released their debut album in 2008, ‘Connections’ which was an instrumental album. It was very well received by the prog world and garnered excellent reviews from around the world.
The following year they started work writing and recording the follow up album ‘Differential Being’ which again was an instrumental album. The album was released in 2010 and this too received excellent reviews and saw the band move forward, making a video to the first track (Paragon) from the album and undertaking a series of gigs.
The band’s next release was a three track EP ‘After The Ice Storm’ released in 2013. This used more keyboards, allowing them to create a wider variety of sounds. The EP also received glowing reviews.l
The use of more keyboards made it difficult for the band to play live as Mick was juggling between keyboards and bass, so the band took the decision to find a keyboard player. After a long search and many auditions, along came Gary Marsh. He was perfect and was promptly added to the band’s line-up towards the end of 2013.
“Peter Jones, attended a Red Bazar gig in Nottingham and suggested if we ever wanted to try some vocals he’d be ‘up for it’”, explains Andy. “We sent him a track and were really impressed with the lyrics and melodies. The rest, as they say……is history.”
Through 2014 and 2015 the band wrote and recorded the songs for ‘Tales from the Bookcase’ which is a collection of musical stories, many of which are based on Pete’s favorite books, with him providing the lyrics for all of the tracks except one, Sunset For A New World.
By jove, they do love irony these rock bands, let’s laud the fact we now have a vocalist and start the new album with an instrumental! Actually In The Beginning is a rather fine opening to this new release with its slow burning feeling and ramping up of anticipation. Andy Wilson’s guitar is the lead here, ably assisted by the other musicians and setting the scene perfectly for Queen Of The Night Pt.1. A heavy riff opens the track with pounding drums and a tasty bass line before the distinctive voice of Peter Jones adds a edgy tone. Moving away from his usual progressive tinged vocal, Peter gets to rock out a bit more on this song and you get the impression that he’s really enjoying it. The punchy guitar and dynamic drums drive the track along giving it an added impetus before the laid back interludes where Peter’s voice takes centre stage amid a tug of war between dark and light where he takes on two distinctive characters with his clever invectives. The inventive music can, on one side, lull you into a feeling of goodwill and yet, on the other, leave you feeling like you’ve been run over by a force of nature. The next track is a particular highlight for me, Calling Her On is an almost perfect symbiosis of Peter’s Tiger Moth Tales persona and the inherent brilliance of the original musical quartet. A delightfully subdued opening where the vocals lay the foundations of the story is quite captivating, a gentle tranquility amid a hectic world. As expected, it doesn’t last forever as a sweeping riff demands your attention, the compelling rhythm section urging, the vocals taking on a pressing tone. The central part of the song opens up with Andy’s expansive guitar solo, one that carries you away on a wave of emotion. He’s always been a master storyteller Peter Jones and his new partners in crime just add to his skills as a troubadour of note on this compelling musical tapestry, a journey that twists and turns dragging you along with it as a willing victim, the mellow, unhurried closing out of the track soothing your troubled soul.
Peter is a well known Genesis fan and City And The Stars has that revered prog rock band written large all over it. The gentle introduction with the Gabrielesque vocal and the Tony Banks inspired keyboards is inspired and the rest of the track does not let you down in any way. The guitar playing is sublime, the drums are smooth as you like and the bass is suave and sophisticated. It all leaves you cocooned in the nostalgic, whimsical 70’s bubble from which you never want to leave as it paints pictures in your mind. There is an undercurrent of despair deep at the core of this powerful song though and the longer it goes on that feeling of being safe and secluded drifts away. Intelligent songwriting delivers quite a profound tale and one of which we should surely take note. Andy Wilson delivers another coruscating guitar solo of note and you are left with a slightly hollow feeling of wistfulness. Lights Of Home is the centrepiece of the album and is a track of intricate sensibilities amid a story of endurance and bravery. The opening is busy and engrossing with a percussive riff and Paul Comerie’s abilities as a drummer are brought well to the fore, aided and abetted admirably by Mick Wilson’s driving bass. This guy has inherent brilliance behind the kit and it is allowed to shine here. There’s an impatient, restless quality to the song, never settling, an urgency that you feel through the impressive musicians and the vocals add direction to that verve. A lull in proceedings midway through allows you to gather your thoughts on the scenario before you and then a brilliant guitar solo creeps into your mind, the guitar seemingly piercing your very being, Gary Marsh adding the distinctive panache of his keyboards. A track epic in scope and delivery and one that stays in your mind long after it has come to a close. There’s something really addictive about the guitar theme that runs through Sunset For A New World, something that gets under your skin and into your very soul. I can’t describe it exactly but I really like the feeling it engenders as it meanders along, captivating and beguiling. The intricate drumming and ever so polished bass line just add to this feeling of uber-cool jazziness that runs throughout this high-class track. Peter’s vocals are heartfelt and fervent and give the song a feeling of perfection and rightness. The pent-up emotion that erupts out of Andy’s guitar on the evocative solo is amazing to behold and, added to the dapper keys, adds that final veneer of elegance to what is a really excellent piece of music.
The darkest track on the album and one that deals with Peter’s own previous battles with depression, Almost Over begins in a solemn and restrained manner, building the scene gradually. Peter’s voice has a more hushed tone and there is a muted feeling that overshadows everything before a dark riff strikes out. There’s an intentionally oppressive tone to the song, one that provokes an aura of despair and anguish. Long gone are the jolly themes and jocular tones of Tiger Moth Tales’ ‘Storytellers’ yet the song is still as persuasive as any other on this release, even the the guitar solo has a slightly ambiguous and obscure feel to it. Despite the darkness inherent in the track’s theme it does seem to, finally, come to a more optimistic close, there is hope to be found inside your own mind.
The final track on the album is the conclusion to the first, Queen Of The Night Pt2. revisiting musical and lyrical themes originally explored in the opening track. A more refined opening with a staccato riff backing Jones’ dulcet tones as the scene is described in detail. Occasional glimpses of the heavy riff prevalent on Pt1. tie the two tracks together. You must listen to the decidedly impressive lyrics as they add not a little weight to the music and Peter Jones must be one of the pre-eminent lyricists at large today in the world of progressive music, if not the whole music industry. Listen to the superb nuances in the bass, drums and keyboards with their jazzy feel and the charismatic guitar that seems to glow with a life of its own, there is an organic quality to the music that gives it a unique tactility. The song opens into a huge soundscape that entrances and delights in equal measure, an infinite depth that becomes almost primordial and elemental and, as it fades to a close, one that has captured your very soul.
The addition of an artist of the calibre of Peter Jones to the already impressive musicians in Red Bazar always had the potential to create a new force in the world of progressive music, the question was how good would they actually be? Well my friends I can answer that firmly in the positive. ‘Tales From The Bookcase’ is a new classic to my ears and an album that should be in any discerning fans collection, roll on the next one!
