I’ve often said I see myself as a musical ‘Indiana Jones’, searching through the musical waters for little nuggets and gems of deliciousness. Music that can transport you to a different place and make the world seem insignificant in comparison.
Quite often though, it is the music that searches me out, as if I am a magnet, attracting all that is good in this wonderful musical stratosphere.
My good friend Aloys Martens from RockLiveRadio recommended Progradar to Mark Reijven, guitar player with Dutch progressive/metal band Nem-Q and, after a few emails passed back and forth, the promo for their latest EP, ‘Fault Lines – Subduction Zone’, arrived in my inbox.
It only took a couple of listens to draw me into this intriguing piece of music and for me to find out more about this interesting band.
Nem-Q were formed in 2004. The five-piece band from Nederweert (The Netherlands) produced a unique blend of melodic rock/metal, jazz/fusion rhythms and pop rock influences on their first album ‘Opportunities of Tomorrow’ (2007). Comments were very positive. In the five years since that first release, the band mainly focused on their live performances and musical development, thus creating Nem-Q’s own sound.
In 2012 they released a new concept album ‘301.81’ which showcased the development that Nem-Q had gone through. The title of the album refers to the medical term for a personality disorder. ‘301.81’ distinguishes itself from its predecessor by having much more complex melodies and vocal lines, heavier riffs and a much darker tone.
The new EP, ‘Subduction Zone’, is the first part of the new album ‘Fault Lines’. ‘Fault Lines’ will consists of two EP’s with the subtitles: ‘Subduction Zone’ and ‘Terranes’. A “fault line” means fracture. The cover of the EP shows a heart divided by a fraction. This not only marks the division of the album, but it also shows the inner struggle of choices and the consequences. A kind of collision, hence the choice for the title ‘Subduction Zone’: a clash between two tectonic plates, like in an earthquake.
The second EP will carry the subtitle ‘Terranes’: the emerging of new rock formations after a landslide. ‘Terranes’ will be available later this year as a merged digipack with ‘Subduction Zone’.
Nem-Q are Paul Sieben (vocals, guitar), Mark Reijven (guitar), Maarten Meeuws (bass), Dennis Renders (keys, vocals) and Twan Bakker (drums, percussion).
And now, the music…..
Opener Inner Struggle begins with a staccato riff and swirling keyboards while the percussion thunderously provides the backing. The vocals are quite stentorian and precise. It is like a smorgasbord of modern progressive metal mixed with 80’s heavy rock, like the Scorpions having an illegal liaison with Symphony X and it works really well. The gentler sections are punctuated by acoustic guitar and delightful piano and Paul has a great range to his voice mixing the bombastic with the humble and restrained with aplomb. The frenetic progressive metal elements are like a wild ride, epitomised by the brilliantly over the top keyboard solo about four minutes in and the crunching riffs that abound throughout and that lead the track out to a measured and masterful ending.
Shooting Stars has a much more restrained feel to it as it enters the fray with gentle acoustic guitar and reserved keyboards. The vocals are clipped and deliberate adding gravitas to this calm and considered track. It dances along with a gossamer-like step, filling you with an incredible lightness and ease to your soul and a feeling of well being. It has a feel of some of the more composed Marillion tracks of latter years, mature and sensible, yet there is a playfulness lying just under the surface.
Vanity is one of the best progressive metal tracks I’ve heard in a long while, a brooding opening built up by fractious and insistent guitar riffs puts you on edge, the percussion adds a note of apprehension and then the vocals come in with a prophetic tone to complete the dark nature. This feeling is carried on as the guitars take on a more urgent note, driven on by the bass and drums and a heavy riff presages the building of the harmonised vocals into something very like Metallica at their pompous best. It is a gripping song that will not you look away, there a little intricacies, twist and turns that lead you up blind alleyways, it feels very angst ridden in places, especially on the rising chorus that makes the hairs lift on the back of your neck in a spine-tingling fashion. This is one of those tracks where, as soon a sit is finished, you immediately press play again for another dose of its stylish brilliance. It is a suitably impressive canvas of musical intensity that is being painted before your very eyes and the repeated chorus and powerful riffing hold your attention right until the heartfelt ending.
The final track on the EP is a laid back, if a little sinister in places, instrumental. Desaturate has a jangling guitar at its core, one that seems to be taking you on a hushed journey of foreboding and mischievousness. It moves across your psyche in a stealthy fashion leaving little notes of trepidation with every footstep. A deliciously dark and mysterious end to this wonderful record.
Nem-Q have delivered a brilliant twenty minutes of intense progressive rock music with more than a healthy dose of metal. Very impressive musically and with some excellent songwriting, it drew me in from the first note. I am now waiting with extremely bated breath for the next instalment.
I continue to be drawn to clarity and simplicity. ‘Less is more’ remains my mantra – Stephane Rolland
My mate John Bassett is like a one man music factory. If he’s not making prog-tinged psychedelic albums with the brilliantly named KingBathmat or the seriously heavy and melodic instrumental colossus that is Arcade Messiah, he’s laying down some more personal and intimate tracks as a solo performer.
John’s last solo outing under his own name was the sophisticated restraint of the uncomplicated ‘Unearth’, released in March 2014 and I had this to say about it:
It is a shining beacon of simplicity in an over-complicated world and an antidote to the ponderous, heavy and dull music that can clog up our airwaves in this industrial age.
With no fanfare or previous promotion, John announced he was releasing a four track E.P. called ‘Aperture’ and, in his typical humble style, he had this to say about the recording process:
It only took me 10 days to make it from nothing, which is some difference to 6 months to putting together the last arcade messiah….
Now, if another artists has told me it had taken them less than two weeks to make a record, I’d be either worried or very sceptical, but not John Bassett. I was pretty certain that he would have produced something quite brilliant as usual….
The E.P. opens with Break The Wall, the intro to which is a bewitching brew of jangling guitars, all immediately recognisable as being John Bassett. The drums and bass join in what is quite a whimsical and wistful melody and then the vocals begin. Yes, vocals, I’d been so used to the power and pomposity of the instrumental only Arcade Messiah that I forgot that John has quite a delicate, yearning voice that works perfectly with the clarity and purity of the music. The whole song has an openness at its core and I find it emotionally cleansing as it carries my worries away, yep, I was right, John doesn’t do ordinary or mundane, this is sheer class.
There is a haunting feel to the opening of Joy In Despair, an all pervasive feel of hushed restraint to the pared back music and John’s guileless vocal. The fog of uncertainty begins to lift as the rhythm section opens up, there is a chink of light appearing in the misty gloom. There is an undercurrent of nostalgic melancholy running throughout the song, a feeling of whatever will be , will be that manifests itself as stoic fortitude and the track closes out with a very stylish guitar run, near perfect.
Awaiting has a slow burning opening, a low down guitar and vocals full of longing are accompanied by an expressive bass, just lulling you into a state of dignified solemnity. The chorus is all breathy vocals and a stand out guitar note that lifts the tempo slightly. A thoughtful guitar solo is laced with feeling and sentiment and you well up with emotion, a superb thought provoking track that left me in a reflective state of mind.
The final track on the EP is the delightfully eclectic instrumental Jenna. Sepia tinged memories flood your mind as the plaintive and longing guitar leaves wishful notes on your mind. A meditative and unhurried track of musical rapture that cleanses your mind and soul to leave you in a calm state of well being.
There is a beauty and grace to ‘Aperture’, John can do immense walls of sound in his sleep but, this time, he shows he has a gentle and rarefied touch to deliver a small and perfectly formed musical gem. Any negatives? yes, just one, it’s not long enough…..
Starting on 5th April the italian prog-rock band Barock Project launch the pre-sale of a new live-album. Two live cds featuring an unreleased track to celebrate a decade of music writing and four studio albums!!
Vivo: ten years in two hours with Barock Project!
On May 23rd Barock Project will release ‘VIVO’, their first live album (and fifth album in total) to celebrate ten years of writing music. VIVOwill be the fifth release by BP, following the successful studio album Skyline(2015), sold in 34 countries. In addition to the live tracklist, enriched by a memorable version of Genesis’ hit Los Endos,VIVOincludes an unreleased bonus studio track: My Silent Sea.
Two cds, comprising two full hours of music, will feature all the BP hits and shows the musical evolution of composer/leader Luca Zabbini and his band. ‘VIVO’ has been recorded during the 2015 ‘Skyline Tour’.
‘Skyline’achieved overwhelming success, many journalists all over the world acclaimed Barock’s ability of playing traditional progressive-rock in combination with a new direction. Vittorio De Scalzi (New Trolls founding member), and special guest on ‘Skyline’, publicly appointed BP as symphonic-prog heirs in continuation of his work with the New Trolls and their ‘Concerto Grosso’ albums.
“For fast acting relief, try slowing down.” – Lily Tomlin.
Modern life can be likened to being on an express train that only runs between two stations, the one where you board and the one where you alight. The common complaints of ‘not enough hours in the day and too much to do to fill them’ arriving on a regular basis.
We really need to get off this never-ending stressful ride more often, for our own health and sanity, if nothing else. I know it’s easy enough for me to say it but, it certainly helps my well-being to be able to take a step back now and again.
My way of forgetting the intimidating rat race is just to listen to some calm and relaxing music, music that I can unwind to and that soothes my furrowed brow. One of the artists that have delivered this gentle, sedating relief to my busy life in the fast lane has always been Fractal Mirror and they have just released a new album, ‘Slow Burn 1’ so, when the promo arrived, I pressed play to see what wondrous, whimsical world they had conjured up for us this time…
Fractal Mirror is an international recording band. Leo Koperdraat (keys/guitars/vocals) and Ed van Haagen(bass/keys) have made music together since the 80’s in the Netherlands. They met Frank Urbaniak (drums/lyrics) online and compose and record their music via transatlantic data exchanges. While Ed has visited the US during mixing sessions, Leo and Frank have never formally met. The band’s name and compositions are a reflection of their passion for the wide variety of music that has influenced them and has provided the soundtracks for their personal lives.
The themes in ‘Slow Burn 1’ are a reflection of the disruption that technology is triggering in all phases of life, and the platform it provides for consent and dissension about the direction in which our world is heading.
There is a wide selection of guest artists helping the band on this release including Patric Farrell, Kenny Bissett Sr., Don Fast, Leopold Blue-Sky and Brett Kull (Echolyn) who, once again, mixed and produced the album. Brian Watson of Plan A Art provided the stunning artwork.
Prelude is a calming opening, lowering the heart rate and getting you ready for what is to come. The signature Fractal Mirror keyboard sound and Leo Koperdraat’s dulcet tones all present and correct. There is a real light and airy feel to Miracle as it opens up. The jangling guitar and Frank’s drums giving a dreamy feel, a deliberate note is in the vocal though, all serious for a moment. The guitar gravitates in earnest and the catchy chorus is really good. Some stylish bass playing adds a touch of class to proceedings. Immediately you feel that the band have matured and progressed in their songwriting, there are layers of complexity on show here, shown in the late 60’s psychedelic feel to the opening of Numbers. The swirling organ note and deliberate drumming add a thoughtful note to the song and Leo’s vocals have an earnest note. It is all cleverly whimsical and wistful, lulling you into a serene state of calm. I see a new found depth to the musicians and one that I am liking a lot so far.
Patric Farrell provides bass on V838 and lead guitar duties are taken on by Peter Swart. On the verse, the song has an upbeat feel, uplifting and light, the rhythm section bringing their ‘A’ game along. Leo delivers another reflective vocal performance. There’s a note of regret, even warning, on the meditative chorus. This track showcases the new, polished sound that is crystal clear and lush. A contemplative and plaintive note pervades Floods. This song has an almost melancholy and ethereal beauty to it, I listened to it with my headphones on and was lost in its sublime, calming grace. Charlotte Koperdraat and Kitty Diepstraten add serene backing vocals, there’s some heartfelt guitar playing and you are left with a blissful lightness of being.
That sanguine, optimistic note returns on Mist, positive drumming, quick-stepping keyboards and Leo’s buoyant vocal all come together to give the song a really upbeat note. Stopping just sort of becoming annoyingly twee, with Don Fast’s elegant 12-string, it left me feeling like I could take on the world, the sun was shining and everything was right with the world. Both Enemies and Embers have a determined and businesslike note to them. While at first resonating a little less with me, they are both still clever, involving pieces of music that did, at first, seem a tad one paced. Charlotte returns on backing vocals for the former, this time joined by Jason Himmelberger. Both songs initially seemed to lack the instant involvement of the rest of the songs on the album but, after repeated listens, they both proved to be slow burning diamonds. It is true that all comes to he who waits, apparently….
A delightful guitar note opens Fading before a tidy drum roll introduces the rest of this feel-good track. A jangling guitar riff and Leo’s expressive vocal add another layer of benevolence. A proper ‘foot-tapper’ it seems to fly along slightly out of grasp with its more AOR friendly feel. Throw in a Peter Gunn style riff and you have another song that lifts its head above the parapet of normality on this increasingly impressive release. Artifacts is another smoothly polished song that just drips panache and style and yet seems to suffer slightly against the inspiration of some of the other tracks on the album. It is a rather nice piece of music anyway, great vocals from Leo and Jason again, combine them with the superlative musicianship and you will never fall below rather good but, to me anyway, there just seems to be something lacking. However, the final track on this expressive musical world of wonder is every bit as good as, if not better than, the rest. Universal is Fractal Mirror doing what they do best, sumptuous music, intelligent songwriting and delightful vocals combine to give over eight minutes of intriguing and involving musical enchantment and it really does leave you on a high. On this final song, the majority of the musical guests make a final appearance with Patric Farrell, Kenny Bissett Sr., Leopold Blue-Sky, and Dan Fast all joining the exuberant gathering. The harmonised vocals are just one of the joys on show and the song runs out with a serious feel of the Beatles circa Sgt. Pepper.
A band that constantly strives to improve and progress, Fractal Mirror’s new album is testament to their devotion to this ethos. ‘Slow Burn 1’ is a multi-faceted delight and a joy to behold. I doff my cap to you gentlemen, after ‘Garden of Ghosts’ I expected something special from you and, boy, have you delivered!
“With the aim to make progressive music accessible to the masses and not content to follow any musical trends, Section IV fuse melodic hooks, rich soundscapes and musical dexterity to create music that defies genres.”
So says the band’s bandcamp page anyway…..
To be honest, I’d never heard of Norwich based Section IV until a message arrived at Progradar from the band’s manager Dean Shepherd:
“Hi, Section IV have released their début album “Superhuman” Should you want a physical copy of Superhuman I would be happy to send you one, if you could furnish me with an address to send it to.”
Dean also furnished a link to the band’s website which, while being sparsely populated with information, intrigued me enough, especially the striking artwork, to reply in the affirmative.
It was difficult to glean anything much from the band’s online presence but I figured out they’re from Norwich (yes, well done to me, I know!) and Section IV consist of Robben Harrop (guitar), Sam Linay (vocals), Stuart Robertson (drums), Richard Lockett (keyboards) and Nicko J Ruddock (bass).
Listening to the music is a whole different proposition, there’s a whole bundle of influences fighting for attention over the ever present rock base. Like most good albums, it takes two or three listens to unveil the inner delights so, after quite a few more plays, I’m ready to give you my considered opinion…
This album is book-ended by two longer tracks, the first being the title track Superhuman and this is one with full-on neo-prog tendencies. Like a leap back in time to the 80’s and early 90’s, all the pointers are present and correct. Sepia tinged keyboards and jangly guitars are the mainstay and everything is kept cohesive by the slightly metallic drum sound. Sam’s vocal is strong and powerful and, while everything is stylish and professional, it doesn’t quite put its head above the parapet as being something better than what you’ve heard before.
The next two tracks, Out Of The Dark and In Danger has a more definitive AOR feel to them and I get the feeling that this melodic and catchy style is where the band truly sit, they are masters at it. Wistful and endearing, the music is classy, polished and, basically, really good. The vocals fit perfectly with the sound and I find myself being drawn in, lulled by the quality on offer, Robben Harrop’s impressive guitar work really starting to shine as well. Inside is one of the stand out tracks with some polished acoustic guitar work and superbly harmonised vocals. It is a pared back little gem.
The bombast returns with the opening to So Far Away, all pounding drums and staccato guitar. A feeling of apprehension is created by the voices running underneath the music. This track actually sticks one toe firmly in the progressive pool and does it exceedingly well to give an almost post apocalyptic feel but doesn’t quite go the whole hog. The rather catchy chorus has its roots firmly in hard rock and AOR. Idwtstwt is an enjoyable anomaly in that it even treads the boards as a heavy metal track with its punishing opening riff before turning the flame down a bit to hover on the edge of hard rock heaven and heavy metal hell in quite an innovative manner, the interplay between the guitar and keyboards just manages to avoid being cheesy. That hard rock/AOR vibe returns with Guiding Light, another track that, while being entirely palatable, is also a bit generic. I even feel a hint of 80’s metal joining the fray on tracks such as Take You Down, if brought up to date for the twenty-first century. The keyboards are nicely done, the riffing is smart and perceptive and Sam has one of those unique and memorable voices that stays with you, especially on the uplifting chorus.
So, to the final track on the album and a return to the neo-prog feel of the equally extensive opener. Exile, however, does seem to take its progressiveness just that much further and, as such, makes itself the stand out track on the album. To me, it feels like the band have, basically, decided to forget any formulas and just lay down what they’re good at. The sweeping opening is full of grandeur before a lone piano takes over, quite heartfelt, to lead into the rest of this sixteen minute epic musical journey. Uplifting and dynamic, it is worth the entrance fee alone. It is quite cinematic in scale and stops you in your tracks, a heavyweight slice of pomp and circumstance.
So, to my ears, Section IV has delivered a highly competent and eminently likeable album in ‘Superhuman’. However, with tracks like Inside and, especially, Exile, they show they have the capability to produce something exciting and different to the norm and, to me, they should be exploring that side of their music further.
There are lots of small, independent music labels around this great big planet we live on, I even work with one. It was a pleasure to meet Peter from Freia Records at the recent Bad Elephant evening. This Dutch imprint have been going for quite a long time and have built up a nice roster of artists. Peter is as enthusiastic about music as any of us who have it running through our blood.
I’ve reviewed some of Freia Music’s releases in the past so it was with anticipation that I downloaded the latest one as soon as it landed in my inbox.
Sebas Honing was better known to me as being a founder of Equisa with hs wife, Petra. Little did I know he also had a burgeoning solo career.
‘The Big Shift’ is his third (or is it his fifth?) solo album. His previous album met with critical acclaim both from the fans and the media. Sebas was even featured in the ‘Limelight’ section in Prog Magazine, issue 49 (September 2014). Sebas also took the criticism of his first album to heart and asked Christiaan Bruin to play the drums, his wife (a professional singing teacher) also helping him to strengthen his voice.
‘The Big Shift’ is, again, a concept album if, albeit, a loose one. It is about change and includes lyrics about leaving home, getting rid of fears and the birth of Sebas’ daughter.
There’s an eclectic mix of progressive and symphonic rock running throughout the album. Right from the thunderous opening salvo of instrumental title track Big Shift and Life pt.1 this is dynamic and compelling. Sebas is a seriously accomplished guitarist but he has a rather nice vocal too, vulnerable, yet with authority when required. Mrs Honing (Petra) provides classy lead vocals on a selection of tracks and her voice has a dreamlike elegance to it.
Sebas explores the more complex and progressive styles on tracks like Ditching Fear, Mercury Retrogade and OMG yet they still keep a more accessible feel to them. Stylish, concise and expressive, these are catchy tunes that, mixed with a certain degree of complexity, really appeal to the listener and, when Sebas lets rip on the guitar with his inimitable style, it’s a joy to behold. There’s even a touch of Metallica coming through on OMG, bringing a smile to my face.
Occasional lapses into a lighter, more fine-grained style do not hinder your listening enjoyment. Rather, tracks like All You Are, Freedom (a strong single contender if he wanted one)and Mild Smile give the middle part of the album a dose of humility and humanity. It is on tracks like these where Sebas adopts a cultivated edge to his music and vocals and rather stylish and urbane it is too.
Overall, the astute mix of styles blend together to deliver a distinctly cohesive whole and there is something for everyone to enjoy with nods to the more serious and then the light-hearted among us. Every now and then the added polish of Sebas’ brilliant guitar playing breaks out and everything lifts to an other plane altogether, the solo on Hometown being a case in point. Perhaps the most creative, serious and yet, elegant track on the album, Homeless sees Tessa Struijs join Petra on backing vocal duties to give us a symphonic-prog classic in the making.
It could be said that Sebas Honing leaves the best until last as the final two tracks, Life Pt. II and Lost close out proceedings with a bang. Sebas and Petra delivering a stellar vocal performance on the former, along with some rather intricate prog-metal shenanigans and the latter closes out the album with a touch of intimate class.
If you’re a fan of progressive rock with a little extra something, you’re going to really like this intelligently crafted record. Sebas Honing is definitely one to watch for the future, another highly recommended album from Freia Music.
Crikey, the plethora of excellent new music arriving daily at Progradar Towers is definitely increasing in volume!
With this in mind, welcome to the first in an irregular series of shorter, more concise (yes, I know!) reviews to empty your wallet. You can thank me later….
Headspace – All That You Fear Is Gone
Damian Wilson has one of the more recognisable voices in Prog Rock/Metal and his band Threshold have, while not exactly being at the forefront of progressive-metal, certainly gained a cult following over the years.
Leaving the day job to one side, Damian, alongside keyboard player Adam Wakeman, bassist Lee Pomeroy, drummer Pete Brook and guitarist Pete Rinaldi, formed the so-called ‘Supergroup’ Headspace in 2006. It wasn’t until 2012 that they released their debut album ‘I Am Anonymous’ and, to be fair, I was left slightly underwhelmed by it.
Fast forward to 2016, the band have replaced Brook with Adam Falkner and released their sophomore effort ‘All That You Fear Is Gone’. Time for a rethink from this music hack? Let’s see….
The new album has a strong conceptual strand running throughout.
“The concept is mine,” says Wilson. “On the first album we were focussing on the individual trying to fit into the group. This time, we are looking at the group’s inability to control the individual. It’s about governments, big business and religion but also the smaller social groups we form. They exist as a method of ensuring conformity, always with a pecking order.”
This release has the signature dense and heavy sound employed, not only by Headspace but, also by Threshold. Thunderous riffs and dynamic drumming abound on tracks like the opening duo Road To Supremacy and Your Life Will Change and the Audio Plastik-a-like Kill You With Kindness. There is an intelligence running throughout though, the stylish bass and astute, polished keyboards laying an impressive infrastructure.
To be honest, what you have to decide is, whether you like Damian Wilson’s distinctive vocals or not as they are all pervasive on this release and are the foundation of Headspace’s sound and style.
Me? I love them, he has brilliant nuances in his voice that really come to the fore on the expressive blues style of Polluted Alcohol, a gem of a track where Rinaldi’s pared back delta blues guitar work is an absolute delight yet Wilson’s vocal is the real focus, and the epic The Science Within Us, a song that really showcases how far this impressive group of musicians have come since the debut release. A track of different parts and one where Wilson seems to vocalise different characters and his tender, heartfelt voice is at its supreme best. The way he sings the chorus will make the hairs stand up on the back of your neck. He hits the heights again on the superior closing track Secular Souls, an engrossing musical journey that enthralls and captivates from the first note to the last, powerful and bombastic and yet with a compassion and benevolence deep at its heart.
‘All That Fear Is Gone’ was produced by the band, and mixed by Jens Bogren, who also worked on ‘I Am Anonymous’.
To me, this record is a true cohesive whole but Damian wasn’t convinced at first,
“When all the separate parts for this were first put together, I thought it sounded crazy,” laughs Wilson. “In fact, I’d go so far as to call it unlistenable. But then Jens worked his magic in the studio, and has made it all settle down and make sense.”
I could try and pick out some stand out tracks but, you really need to take this album as a whole listening experience, there really are no weak moments at all. For me, at least, this is a huge improvement on the debut release and I highly recommend it.
‘All That You Fear Is Gone’ is the second part of a planned trilogy, and Wilson already has the blueprint for the final instalment in his mind. But that’s still in the future. Right now, the band are concentrating on touring in 2016. “That will definitely happen. We are working on the dates right now.”
‘All That You Fear Is Gone’ was released on 26th February 2016
So, what do you do in-between albums? Chill out for a bit? develop a side project? release a solo album? or none of the the previous?
Well, if you’re cinematic instrumental progressive rock band Proud Peasant you release a limited-edition 7″ vinyl EP that consists of cover versions of Eloy and Manfred Mann’s Earth Band and, why not?
Released on the acclaimed UK vinyl-only label Fruits de Mer Records, ‘Cosmic Sound’ will be released on April 6th and, ahead of that release, my friend, and band member, Xander Rapstine, gave me the chance to hear what it’s all about.
Austin, Texas band (actually, more of a collective), Proud Peasant are described as being cinematic and pastoral instrumental progressive rock, the soundtrack to sublime dreams and wicked nightmares, they released their debut album ‘Flight’ in 2014 and I wrote these words about it;
“In places Flight is quite an exhausting listening experience as lots of differing musical styles vie for your attention and, in some parts it is just too much, almost turning you off. I suspect that the band is taking it for granted that you have a certain level of intelligence whilst listening to their music. It is convoluted, enlightened and creative but not for the faint hearted. In fact, occasionally, it is too clever for its own good. That should not detract from the fact that Proud Peasant have produced a very good album that captivates throughout and I await their next release with not a little anticipation.”
Well, the anticipation of a new, full-length release will have to wait a little longer as Xander has told me that Proud Peasant won’t start recording the new album until April at the earliest and will be looking at a late 2016/Early 2017 release date.
Never mind, I’m intrigued by this new ‘covers’ EP and it’s trippy cover art so let’s dive straight in at the deep end and see what’s going on in Austin, Texas….
The first track on this mini-EP is a cover of Daybreak, a bonus track on the 1973 album ‘Inside’ from Eloy and it opens with some rather furious percussion and a fuzzy, funky guitar riff that basically just knocks you off your feet in a ‘WTF was that’ sort of moment. The low down and dirty guitars really give this a feel of 70’s rock with a stoner edge to it. I love the intricate and undulating guitar work that leads you on a fantastical musical journey through your mind. I’m not advocating the use of illegal ( or even legal) highs here but this music is utterly spaced out and way out there in the cosmos, that feeling only enhanced by the psychedelic keyboards. A short, sharp jab to the solar plexus by flower power infused musicians.
Saturn, Lord Of The Ring/Mercury, Winged Messenger was originally recorded by Manfred Mann’s Earth Band for the 1973 album ‘Solar Fire’ and is given the full retro treatment here. A subdued sci-fi opening that could have come straight from the 70’s jars your nerves with its angular notes and intonation, the silky bass and stylish drums adding serious gravitas to the sound. I’m thinking flares, long hair and straggly beards here as the laid back music washed over you. Everything glides to a halt before a spooky guitar and wondrous noises emanate from the speakers, anxious and experimental in tone and feel, what’s coming next? you wonder as the song seems to be building up to something ominous. What you get is hectic and frantic rush to the end of the track, the fuzzy riff and staccato guitar dragging you along with reckless abandon. Frenzied and frenetic it gives you no pause for breath before coming to a tumultuous close.
Proud Peasant take their signature wide-screen cinematic approach to two classic 70’s tracks and the result is rather good indeed. A mad, turbulent and yet utterly immersive ten minutes of self-indulgent fun and worth every penny!
It’s funny how you discover new music, a recommendation from a friend, a snippet on the radio, a video posted on social media, the list is never ending. I tend to find that the best endorsements come from people who appreciate the same music as I do.
So, first, a little background story, stay with me, it won’t take long….
Fine upstanding citizen, music reviewer and a friend of mine, Phil Lively, introduced me to the music of Josh Goldberg, Chapman Stick specialist and a superb musician. I reviewed Josh’s solo work and came to be friends with him over social media.
Through this concord, I recently received, and reviewed, the debut piece of work from his band GEPH and got to talking to Josh about other musical projects. His next recommendation was ‘Stories of Earth’ by Body English, a musical project of Clint Degan and one in which Josh was now involved, although he didn’t play on this particular release.
Well, what can I say, one listen and I was hooked, a real ball of nervous, upbeat musical energy with a freshness that has to be heard to be believed and the rest, as they say, is history, here we are at the review…..
Album opener Kiss Them, begins with a really summery and upbeat guitar riff that just gets you tapping your foot to the rhythm before Clint’s vocals join in. He has a very distinctive voice with clipped enunciation and I think it works perfectly with the sharp and incisive music. This is feel-good music at its best, it will put a smile on your face from the first resonating note. The intricate drumming fits perfectly well with the relatively pared back sound on this track and the beautiful guitar runs just add another layer of class. There is a more emotive feel to You Were Something Else, from the effusive opening you can feel a more serious tone. The piano and heartfelt vocal deliver empathy and sentiment which builds up until the graceful violin adds the final touch. I get a real feeling of a hometown finesse to the music. Take some Ben Folds Five, add in some of The Tea Party and garnish with The Twenty Committee and you’ll have some idea of the rather excellent sound of Clint’s creation. The dashes of organ and strings adds a real feeling of lazy Sunday afternoons and a hint of almost ecclesiastical polish. A slightly off-kilter guitar solo leads in another softly delivered vocal section, underpinned by some more compassionate piano playing. I don’t know why but, I get a real sense of 70’s rock about this track, albeit updated to modern times with the excellent production. Prose and Poetry is just that, a rhythmical literary piece intelligently set to music. The halting vocals and delicate music that open the track keep you on the edge of your seat in anticipation of what is coming. There is a build up of tension as the song unfolds before you, Clint’s voice increasing with passion before an elaborate and convoluted instrumental section impresses with musical chops. The song then carries on with that slightly dense musical delivery, the vocals being the centrepiece and the music providing excellent support, a clever piece of musical theatre.
Next, a most raucous track that has real country music undertones and some jazz pointers too, I Don’t Want To Be A Housewife (for Someone Else’s Family) seems to bound along with a relentless and infectious energy, the slightly manic drumbeat a case in part. Strings, saxophone, piano and guitar all combine to deliver something almost vaudevillian with tongue firmly in cheek. Clint’s vocals are impish and full of mischief. The song flies along breathlessly, dragging you along in its wake, thoroughly enjoying the ride. The impressive fiddle adds an electric-folk edge, there’s so much going on here that it could easily become an untidy mess but the skill of the musicians keeps it flowing, laughing its maniacal little head off. Once you’ve calmed down from the fun and frolics of the previous track, Do It Slowly is an acerbic, wistful love story. It begins all slow paced and solemn with a deferential drumbeat underscoring a melancholic, powerfully harsh guitar. A remorseful and unfeigned vocal from Clint delivers the sad story to the listening audience, the forceful guitar interjections adding to the sorrowful atmosphere. A compelling track of love and loss delivered in Body English’s own inimitable style, leaves you with a lump in your throat. Americana influenced with lap-steel sounding guitar and vibrant piano, Rock n’ Roll Will Save You is short and sweet but still leaves its own mark on proceedings. A vibrant, fast-paced little song that wears its heart on its sleeve, it has a sanguine tone of hope and, yet, the slightly grating solo adds a little edge to the pleasantries. The run out to the close is quite inspiring.
Sound Asleep takes Clint’s tentative and tender vocal as its focal point, opening with a laid back tone before the brass lifts the pace slightly. It seems to be treading water, letting the vocals take the lead, the drums holding pace perfectly. Perhaps the most lightweight track on the album in stature before opening up with a theatrical, almost cinematic guitar and brass instrumental section. A more serious overtone muscles in, edgy and nervous, trying to stay in the background but giving an anxious tone to the vocal. I love the funky almost ‘movie soundtrack’ feel to the repeated instrumental section and the guitar solo could have come direct from a 70’s Bond theme, a really clever song. So onto the last, and longest track and one with a title to match its 10 minute plus running time, The Humour in the Heart of the Old Grey Mountain begins with a real spooky sci-fi tone, all ominous and inspirational. A laid back and low key guitar then takes over before the vocals begin, soft and gentle, accompanied by an unadorned piano. Profound and sincere, Clint delivers his most open and honest performance on the album. A song that draws you in and leaves you caught on every word and note, the expressive songwriting and rousing music lending a spring to your step and pride in your heart. This track that has theatrical overtones then seems to segue into a progressive overture full of pomp and circumstance and one that fills you with joie de vivre and hope. Insistent, dynamic drumming is the foundation on which this labyrinthine section is built on, all the other instruments then taking their place in the greater scheme of things and lending a cinematic tone. As the song, and the album, reaches its final chapter, we return to the almost pastoral beginnings and Clint’s hope-filled voice leads us to the close, accompanied by that contemplative piano.
I love it when I find really good music by chance, this album is a breath of fresh air compared to the glut of incoming music that I have heard recently that all sounds the same. Yes, it might not appeal to everyone but, I for one love it. Give it a chance and there is a high possibility it could be brightening your day anytime soon….
I’m what you might call a music completist. You know the sort of person I mean, I begin to really appreciate a band or artist’s music so I have to seek out and devour all their output, be it studio or live albums or DVD/Blue-Rays of live performances, I have to listen to, and have, them all.
To me, it’s a worthy endeavor, whether you start with the first release and follow that particular artist all the way to the present day, like Dream Theater for me (the jury is out on ‘The Astonishing’ at the moment though..) or you hear a latest album and work your way back through their discography, this was how I got into Big Big Train (‘English Electric Full Power’).
Whichever way round, I get a certain satisfaction out of investigating all of a musician or band’s achievements and I will often unearth a gem I didn’t previously know about.
Bringing Big Big Train back into the discussion, it was an earlier solo album from lead vocalist David Longdon that was the next part of my musical education with this celebrated English pastoral progressive rock band.
I used my ‘musical treasure hunter’ skills and the ‘X’ marked the spot when I uncovered ‘Wild River’ by David Longdon and The Magic Club.
David initially played in a band with school friends Simon Withers and Ian White under the name Greenhouse. It was this experience that would be the inspiration for the Big Big Train song ‘Make Some Noise.’
Throughout his twenties David played in the Nottingham based band O’ Strange Passion and eventually The Gifthorse. The style of these bands included acoustic based music with art rock tendencies. He ended up being signed to Rondor Music UK (Publishing house for A&M records – The Police, Joe Jackson, The Carpenters, Supertramp) as a songwriter with a development deal.
David is also a long term member of the Louis Philippe band, playing on the Jackie Girl (1996) album, where he met both Danny Manners and also Dave Gregory who he would later introduce to Big Big Train.
It was in the final days of The Gifthorse that David was invited to audition as a potential replacement for Phil Collins as lead singer in Genesis. He survived the auditioning process and worked from May to November 1996 on recordings that would become the Calling All Stations album. They were also working with Stiltskin vocalist Ray Wilson at the same time. Eventually they decided which one out of the two would get the job.
David sings lead vocals on two tracks (‘Ray of Hope’ and ‘Endgame’) on Martin Orford’sThe Old Road album (2008) which led to David Meeting Rob Aubrey who in turn introduced David to Greg and Andy of Big Big Train and the rest, they say, is history!
‘Wild River’ was released in 2004 and I’m still struggling to believe I had never heard even one note up until about a month ago. It was recorded by David Longdon and an inpressive group of musicians collectively know as ‘The Magic Club’, too many here to list but a certain Dave Gregory does appear in the (very) small print…..
The album notes credit David with ‘Vocals, acoustic guitars, electric guitars, mandolin, keyboards, flute, percussion and wrist watch’ so, there you go, a man of many talents obviously.
The opening track Always begins with a delightful acoustic introduction before David’s vocals begin in a slightly wistful manner and Andy Lymn’s stylish drums seem to take a life on of their own. It is a decidedly upbeat song, even if you take into account the slight melancholy aftertaste, dictated by the excellent viola and violin of Beth Noble. Lee Horsley’s strident Hammond organ gives it an edge and David has voice like honey, it just seems to soothe any irritable bone in your body and it lifts this song above the merely good to become something memorable. One you will find yourself humming in the shower as the harmonies of the chorus imprint themselves permanently on your brain. Honey Trap is another track with an uplifting feel to it, almost modern folk in appeal. The musicians work together seamlessly to produce a musical tapestry across which the elegant vocals of David Longdon can paint a wonderful tune. The strings seem more potent and upfront on this song, providing the perfect counterpoint for the vocal harmonies, especially the dulcet tones of the harp. I just feel as if I’m being carried along an a mellifluous sound wave of pure joy. There’s a timeless feel to the music and feel of longevity and this is emphasised even more by the delightful mandolin that stands out in the intro to Mandy. David’s vocal takes on a more narrative tone in places and the whole song has a touch of traditional folk running through it. The Hammond seems to be in the background, almost as if it is directing proceedings. The softer edge of the first two tracks is replaced by a more definitive note and the occasional lapse into a near reggae beat just adds real colour to proceedings. A real foot-tapping, hand-clapping classic that would be at home in a traditional rural public house where much ale has been drunk and many tales have been sung.
(Photo courtesy of Angus Prune)
Beginning with a more apprehensive note, the guitar having a more aggressive feel and the violin a cutting note, About Time appears to be a more serious tune. David carries on with the more narrative vocal on the verse and the whole song has a more mature note to it. The chorus sees that reggae riff appear and the vocals deliver a heartfelt rendition. The flute, harp and mellotron all work overtime in the background to give the required gravitas and really add to the darker complexity of this interesting track. I like listening to music that demands your full attention and this is a song that is definitely of that ilk. Dim the lights and let it wash over you as you discover more and more sophisticated nuances. Mandolin, mandola and double bass kick off Vertigo with an unambiguous folk atmosphere and this is only emphasised by the use of the Irish bodhran. That softer timbre returns to David’s vocals, emotive and slightly mournful, it is a song that plucks at your heartstrings with its open and honest feel. Beth Noble’s backing vocals have a delicate fragility and the clashing guitar solo really does hit you hard on this darkest feeling track on the album so far. I really enjoyed the whole pared back feel that let’s the vocals shine through and I’ve always been a sucker for a great double bass. The next track is far and away the most impassioned and sentimental song on this release. Simple in composition yet beautifully ethereal in its delivery, Loving & Giving is a thing of uncomplicated beauty. David Longdon’s voice is the instrument that holds sway over your emotions, adorned simply with acoustic guitar, double bass and the exquisite strings that add a humble fragility. Jane Upton adds her alluring vocals to this most charming track, the harmonies are a thing of wonder. A tear of joy and hope may have been wiped away and I needed a moment to compose myself after it came to a natural close.
Wild River is a tribute to David’s father, Eric, who died in 1994 and, to me, is a real slow burning blues-rock track. It opens, already beginning to build an atmosphere, with a gentle guitar and David’s ominous sounding vocal. Powerful, expressive and soulful, it is almost a lament. The Hammond organ sits there, just in the background, orchestrating this compelling and touching song. The impassioned vocal delivery is asserted even more on the chorus. The Greasley Singers choir add another layer of finesse, it is an undoubted highlight of this most impressive album and when the intense violin solo is delivered, it is like a weighty presence on your soul, this whole track just bleeds sentiment and sorrow, the impassioned guitar solo (from MichaelBrown) and rousing drums are incredible, and you just feel emotionally spent when it comes to its dramatic close. Edgy guitar and fluent harmonica open up the defiantly rocky This House, bluesy, funky and jazz infused with equal measure, it really drives hard and fast. The staccato guitar playing and Les Eastham’s brilliant harmonica are the real highlights of this track and, with David adding a fervent, stirring vocal, it is literally on fire and uber-cool. There is a feeling of a sentient presence awakening at the beginning of In Essence, superb atmospheric guitar work from Michael Brown again, before things open up with dancing vocals and intricate instrumentation. A song that takes the soul route to your mind. Edgy guitar work, stylish bass play and elaborate drumming provide the backdrop on which David gives a sleek and polished vocal performance. A song for the discerning listener and another one that asks for your full and undivided attention.
It’s all about the strings and keeping it simple, Joely is a delightful little ode. It begins with some really fetching string work in combination with the precise vocal enunciation of Mr Longdon and needs nothing more to deliver a rather charming song that is beguiling because of its skillful simplicity. It almost moves into Americana and country territory in places before it closes with the sublime poem ‘The Heart of Winter’, written and recited by Jerry Hope. Powerfully delivered, it takes you into a heightened sense of consciousness that leaves the hairs standing up on the back of your neck. The simple introduction to Falling Down has an impatient feel imbued by the drums and bass before the strings join in and the vocals overlay everything with a velvet touch. Gentle and benign it continues until we reach the chorus where everything opens up into another well crafted piece of songwriting. I feel I’ve been led by the hand on a fantastic musical journey with a multitude of amazing musicians that come together as one rather than any of them standing above the others. The mellotron is there but you don’t notice it, the guitars add substance but without overpowering anything and , above all, is the stunning vocal performance of David Longdon. Sentimental and rousing, this song is another reason to make sure you listen to this album without daily life intruding. The final track on this stunning album is On To The Headland and it is a fitting close. This song sees David and his guitar in a reflective mood and it is this restrained and simple delivery that really seems to impact on you. I sit back and let this guileless track just touch my senses and leave me at ease and at one with the world.
It may be over ten years since ‘Wild River’ was released but it doesn’t seem to have aged a day and can stand comparison with any of contemporary music that has been released recently. There is an uncluttered and uncomplicated honesty at the core of the music and this is all brought into vivid focus by David Longdon’s utterly unique and incomparable voice. If, like I was, you have yet to experience it then please search this album out immediately!
