Tag: Martin Hutchinson

Review – Zombie Picnic – Rise of a New Ideology – by Progradar

Let’s get something straight from the off, there are no zombies and (unfortunately for the hungry ones out there) no sign of any picnic of any variety but, what this striking album cover does contain is a very intriguing and involving six tracks of mainly instrumental music.

There seems to be a real clamour for that instrumental album with ‘snippets of archival voice recordings’ at the moment. Take Public Service Broadcasting and Nordic Giants for starters, and I’m a fully paid up member of the appreciation society!

Now Northern Ireland’s Zombie Picnic return with their second album and this time around the post-rock progressive four-piece presents six connected instrumental tracks spanning the two sides of this new LP. Combining a vast array of progressive musical influences with snippets of archival voice recordings (there you go, told you!) from thinkers and futurists of past and present, ‘Rise of a New Ideology’ delves into some dark and ambiguous places.

What we get is six pieces of thoughtful, intelligent music that really get you involved in this album. Opener Democracy Cannot Survive, with its slow burning, dark and sombre feel, starts things as they mean to go on. The contemplative, methodical rhythm section really gives focus to this song and the wispy, spaced out guitars take you on a magical mystery tour. It is nine minutes of mesmerising, metronomic music that draws you in to its earnest embrace. They See Science As Dangerous has a real west coast feel to it with the more psychedelic guitars and edgy drumming, where the previous track was all softness and rounded edges there’s a sharper, more blunt feel to the music on this song. Pugnacious, punky and in your face, yet with a 70’s feel, it is a well thought out piece of music. DEFCON is as laid back and chilled as they come. Nostalgia is there in droves and it has a lazy and hazy summer feel to it, life is good! It opens up into quicker paced, more insistent track with some stylish guitar playing but it never loses that twinkle in its eye or that skip in its step.

There seems to be almost a sea-change as we come to track four where the spaced out, ambient sound takes a sharp ninety degree turn and becomes a lot more alt-rock and punky. Life-Support Systems sees an urgent, jangly guitar note take over and the rhythm section seems to press the fast forward button. It’s a clever contrast in styles and gives the album added impetus. There are a few lulls thrown in to give some context and the guitar playing really does go up a notch, they’re a really talented bunch these guys. See Beyond sees the band take another chill pill and give us another luscious and relaxed track where life seems to move at a much more easygoing pace and becomes nonchalant and spontaneous. The music takes on a breezy feel in places but there is always that feelgood undercurrent. Bang! That’s the hit to the auditory senses that the raging intro to Anger in Storage (Denial Will Follow) gives you, a violent mini-storm of angry music that blows you away. There is a calming of the storm but that uneasy, restless feel remains and you’re never far away from a Nirvana-like blast of guitars and drums to lull you out of any false sense of security you may have built up. An impassioned and cleverly indignant end to what has been an intense whirlwind thirty seven minutes of music.

I’m a big fan of music that takes me in a new direction and gives me a little something that I haven’t had before. The exemplary musicianship and well-crafted songs on ‘Rise of a New Ideology’ take an acknowledged genre and take it to the next level. Zombie Picnic are a band who are going places very quickly, just don’t expect rotting flesh and sausage rolls along the way… 

Released 9th March 2018

Order ‘Rise of a New Ideology’ from bandcamp here

Review – John Holden – Capture Light – by Progradar

Life never stands still, the world rotates on its axis at around 1000mph (it’s less as you get North but you get my drift!) and day becomes night. The years pass quicker, or so it seems, and the sheer volume of music that is released gets bigger and bigger all the time.

Because of this it is impossible for me to hear every new release that would perhaps pique my musical curiosity and it pains me to think that I will have missed some gems as the clock keeps ticking. However, I can console myself with the wonderful releases that I do get to hear and enjoy.

I’ve been talking to John Holden about his great musical collaboration ‘Capture Light’ for well over a year now and I was honoured to be one of the first to receive the completed article a couple of months ago. I have listened to it multiple times and now feel ready to write my review…

Over two years in the making, an immersive and evolving album opens with the Joe Payne sung track Tears From The Sun. A symphonic and operatic tour-de-force featuring Oliver Wakeman’s keyboards, it has a feel of where The Enid could be now if they hadn’t imploded. After a quelled opening the bombast begins with multi-layered instrumentation before Joe’s distinctive vocal gives the track life and shape. As opening tracks go, this really does take some beating with John’s great music being complimented by his and Elizabeth Buckley’s fine lyrical accomplishment. A complex musical mosaic that keeps your rapt attention all the way through, Joe is on fine form and gives the song a flamboyant drama.

Crimson Sky takes a more symphonic rock oriented route with Julie Gater’s vocal giving it a Celtic rock infused tone. Hard edged and heavier, there’s a feel of early Karnataka to my ears. The powerful music is complimented perfectly by Julie’s dulcet tones, especially on the catchy chorus. Listen out for the superb guitar solo from Billy Sherwood (yes, THE Billy Sherwood) which adds a real sheen of class to what is already a pretty impressive song. I’m already beginning to love the diversity that John has brought to this album and we’re only two tracks in!

John proves he can tell a great story with the excellent title track, full of drama and intrigue, you’ll have to buy the CD to get the whole story but the musical journey is an engrossing and compelling one that will hold your attention throughout and I had to read the credits twice to realise it was Joe Payne who was performing the fantastic vocals again, this guy is pure talent. Oliver Wakeman’s elegant piano playing once again graces the song and adds real pathos to what is already a dramatic and emotional piece of music and let’s not forget Oliver Day’s stylish guitar, lute and mandolin. Let’s be fair, music has forever been about telling stories and John Holden is already proving to be very adept at it. Capture Light will be one of the most enjoyable and absorbing history lessons you’ll ever have…

A choral mantra that could fit a Andrew Lloyd-Webber and Tim Rice musical, Ancient of Days is an uplifting track that just seems to bring a ray of sunshine along with it with it’s tribal feeling music and the great vocals of Jean Pageau, ably backed by Lee-Anne Beecher and Marc Atkinson. I could quite imagine this song being part of something like Lion King or Joseph with its great theatrical feel. A real shout out must go to Emily Dolan Davies whose skill on the drum kit is utterly evident here.

A song all about Jesse Owens and THAT race in Berlin, One Race is possibly the most progressive track on the album while not being that progressive (if that makes sense?). Joe Payne delivers another consummate vocal performance and the harmonised parts with Max Read give a real Celtic overtone, in fact the whole track reminds me of Clannad or Enya in places. It’s another well crafted song with a great storyline that works brilliantly along with the rest of the tracks on the album and the guitar playing just gives added impetus to the sensation of running along with the narrative.

Now onto the one track that I didn’t click with straightaway, Dreamcatching seemed a bit trite and twee to me on first listen, not quite gelling with the other songs on the album. Trying to explain the legend behind dreamcatchers using spoken word, song and music, this piece of music will either captivate or alienate in my opinion. Repeated listens have led me to appreciate it a lot more, while not actually loving it like I do the majority of the other songs. What does work very well though is the lovely flute and sax work from the ubiquitous Peter Jones who does a good job of adding whimsy and warmth as well as backing vocals along with Julie Gater.

London Grammar, that’s what I thought when I heard the first ultra-cool strains from No Man’s Land with it’s jazzy backdrop to Julie Gater’s silky smooth vocals. A song for lazy days in hazy summers, its chilled and easygoing vibe seems to seep into your very being. The feel good atmosphere seems to infuse every instrument, Gary O’Toole’s polished drum playing and Oliver Wakeman’s relaxed piano and keyboards are the height of sophistication.

A dreamy and contemplative song, Seaglass Hearts is full of longing and the vocals give pause with their elegant reminiscing. A nice interplay between the voices of Peter Jones and Julie Gater give a modern folk feel to the track, one full of wonder and playfulness along with Peter’s soulful sax playing. A sentimental ending to the album, enforced by the sparse piano that fades us out to a close.

A captivating journey through the mystical and historical, ‘Capture Light’ is an accessible, melodic tour-de-force that reveals more of its hidden depths with each listen. John Holden has collected an impressive group of musicians and given us a release that could well be a highlight of the year already.

Released 23rd March 2018

Pre-order ‘Capture Light’ on digital from bandcamp here

Pre-orders for the CD will be available from John Holden’s website soon at this link

Single Review – Sleeperman – You Would Not Be Seen Dead In A Shirt Like That – by Progradar

So, the Sleeperman singles production line has released the second of their ‘new single every month’ releases and I have the pleasure of reviewing it.

This time the East Yorkshire quartet seem to have taken a chill pill with new track ‘You Would Not Be Seen Dead In A Shirt Like That’ and ‘B’ side ‘Black Ice’.

The CD single comes in the usual faux 45rpm vinyl 7″ packaging which is becoming a really nice touch but, much as I’m a sucker for great packaging and album covers, it’s the music that is ‘inside’ that counts!

As is becoming patently obvious with Sleeperman it’s not just the well crafted music that counts, it is also the clever, pithy and pertinent lyrics that make their songs stand out and the wistful, nostalgic grace of ‘You Would Not Be Seen Dead In A Shirt Like That’ is no exception. John Hilton’s wonderfully laconic and laid back vocal delivery once again delivers wry observations that make you smile, his occasionally sardonic voice is a perfect fit for the roots and alt-country inspired guitar playing of Neil Scott and makes the song a wonderfully laid back three minutes of near empathetic perfection.

“The saddest thing I ever saw was an old man alone in the light from a corner shop, his coat was too big, he was crying into his cupped hands…”

The ‘B’ side ‘Black Ice’ is a bit of a departure for the band and takes a different musical direction to what they delivered before. The repetitive, urgent and yet low key guitar intro give a feeling of hesitancy and John’s vocal has a pleading tone. It’s another intelligent three minutes that grabs your attention and keeps you on the edge of your seat. Pared back and minimalist, it almost ghosts across your senses and leaves you in a state of calm bewilderment.

They’re a clever lot Sleeperman and what they are doing is taking us back to the great era of music when the anticipation of newly released singles was almost too much to bear. Not only that, they are delivering on that anticipation big style, this is music for the music lover, music to cherish and not the usual throw away rubbish that seems to assault the charts nowadays. I take my hat off to them and long may it continue!

Released 4th February 2018

Get ‘You Would Not Be Seen Dead In A Shirt Like That’ from iTunes here

Review – Geof Whitely Project – Sempiternal – by Progradar

‘Prolific’ is a word that I have to use when you talk about album releases from the Geof Whitely Project. The man behind this musical phenomenon, Arny Wheatley, has released a bewildering number of albums over the last few years and it is a testament to his songwriting that they have remained high calibre with no loss in quality or content.

So, imagine the shock when it was announced that ‘Sempiternal’ would be the only album release from the Geof Whitely Project in 2018? Well, if it is going to be the solitary one, it had better be good eh?

Arny always seems to give some a little different but without straying too far from his so far successful formula and the new release is no exception, delivering powerful and brooding tracks like opener Stir of Echoes. It’s perhaps the most dark and serious track on the album and it really hits a nerve with me, lengthy at over nine minutes, there is no wasted space and every note has meaning. There’s a lifting of the obfuscation with Hidden Depths but not the serious overtones, a really mature piece of music where Arny’s thoughtful vocals work their usual magic. The signature keys and guitar sound all add to the mix to give another melancholy and yet contemplative track. A wistful and reflective two minutes follows with the measured instrumental delights of Isolation. Like a calm oasis, it mops your fevered brow before you carry on further on your musical exploration.

Low End Distortion has a slow burning intro before an aggressive riff takes over and gives it a seriously edgy feel. This is a real departure from the signature sound, a more hard rock infused track that Arny pulls off really well. That driving riff is the key to the song, powered on by the effective and dynamic rhythm section. Arny takes the vocal duties in his stride as usual and you are left with one of the best Geof Whitely Project tracks I’ve had the pleasure to listen to. A stirring and involving song, Overseer is measured and studied, the sax style keyboards are a real delight and instill a real grace and calmness to the music. This is a track with real passion at its core and Arny’s sparse vocal delivers that with aplomb. Another fast paced, rockier piece, Fairground Distraction even gets my foot tapping to the beat. I like this edgier, more vibrant direction that Arny takes on these tracks, giving them a dynamic and energetic flow that you really engage with.

There’s a lovely piano tinged opening to the emotive Momentary Lapse and its steady,measured pace does remind you of a certain Pink Floyd in places, Arny’s voice even sounding David Gilmour like (that could just be me though!). It is a moving and poignant sounding piece of music that once again shows that Arny is at the top of his game here, just check out the instrumental section around two thirds of the way through and you’ll know what I mean. A powerfully inspiring song that I really like. Ooh another guitar riff! The Voice isn’t as in your face as the earlier, harder tracks but has a great opening that includes a forceful riff and potent rhythm section that imbue it with authority and stature. The verses have a more reflective feel to them but the chorus is significant and substantial and the juxtaposition between the two works exceedingly well. The final track on the album is On a Strange Tide and it has feel of Floyd to its opening again, a bit ‘Shine On..’ with its mysterious and moody synth sound that builds slowly. A wistful and nostalgic song that has a hint of melancholy running through it. Arny’s voice is reflective and musing and the music has a touch of longing at its centre. Swirling synths and brooding guitars abound and there’s a weighty and significant atmosphere that builds all around. A serious and meaningful track to close out this impressive album.

Well, if ‘Sempiternal’ is the Geof Whitely Project’s only album release of this calendar year then Arny has delivered what is, in my opinion, far and away the best GWP record so far. High praise that may sound like but it is worth every word. A more expansive and harder sound combined with some excellent songwriting, one not to be missed.

Released 26th March 2018

Order ‘Sempiternal’ from the Geof Whitely Project

Review – Gleb Kolyadin – s/t – by Progradar

I suppose, like me, the music you listen to depends on the mood you are in? Uptempo, fast-paced music for workouts or when you are in a really energetic mood or perhaps the chilled out, more relaxing music for a quiet night in and then there is that album that sits a bit on the fence, it has the higher cadence but also the easygoing, even emotive tracks that make it a great listen.

I was lucky enough to receive the promo for Gleb Kolyadin’s (pianist and co-songwriter of Iamthemorning) self-titled solo release and was intrigued to find out whether it would be more of his day job or a change from the norm that would head in other directions. Along that journey I have had the pleasure to become engrossed in what is a wonderful musical adventure…

The record features a staggering who’s-who of performers, including: Gavin Harrison (King Crimson / Porcupine Tree) on drums; Nick Beggs (Steven Wilson) on bass; Theo Travis (Robert Fripp / Porcupine Tree / Steven Wilson) on flute and saxophone; the unmistakable voice and lyrics of Steve Hogarth (Marillion) alongside Mick Moss (Antimatter); and Jordan Rudess (Dream Theater) on additional keys.

The album is a collaborative piece with each musician recording their own parts separately, starting with Gleb recording himself on grand piano in Moscow Winter-Spring 2017 at the famed Mosfilm studio. The album was mixed and engineered by Vlad Avy, who also previously worked on the two Iamthemorning records.

There’s a wonderful freshness and freedom to the music that Gleb delivers, whether it is the instrumental tracks where his piano playing is key or the vocal tracks where intimate stories are weaved by the collaborative voices of Mick Moss and Steve Hogarth. The near-frantic tempo of opener Insight is a case in point with Gleb’s dextrous digits flying over the ivories to give a breathtaking demonstration of his skill. The accompanying musicians add a veneer of sheer class, Theo’s sax really stands out and you could imagine yourself standing to applaud as it comes to a close. There’s a humble feel to the opening of Astral Architecture, the gentle piano is hushed in comparison giving an ethereal grace to the song. Mick Moss adds a subtle authority as his vocals begin, full of feeling yet with an undercurrent of melancholy, they draw you into there intimate embrace and you willingly follow. A fantastical aura settles over the song as the vocals take on a more passionate note and the classical strings add gravitas, a powerfully emotive track. The elegant notes of White Dawn wouldn’t be out of place in a piano recital, oozing class and panache, it’s a short interlude that could be termed a musical amuse-bouche and it leaves a lovely feeling on the aural palate.

The theme continues but at a much faster tempo as we segue into Kaleidoscope, a track that lives up to its name as you are taken through a huge spectrum of musical wonder by Gleb’s incredible skill and artistry. Tatiana Dubovaya’s haunting vocals give an air of mystery and intrigue but it is a piece of music that fairly skips along without a care in the world and you gladly join the ride as Theo Travis’ flute takes up the reins to take us to a breathtaking close. The momentum slows a little for the captivating charm of Eidolon to beguile and enchant before the slightly discordant notes of Into the Void carry on the recurring musical theme, quite insistent and incessant in their delivery. Again, this is classical music given over to a mass audience with the added skill and expertise of modern day, real world musicians added into the mix to create something quite unique. The unrelenting timbre is carried over to The Room but you always feel the performers are totally in control of proceedings. A note of seriousness has entered the music in places, the happy-go-lucky quality taking a step into the shadows without leaving altogether, Theo’s sax playing adding a gritty feeling of ‘out there’ jazz playing to the furious piano that closes out the track.

There’s a wistful, darker aura that descends around Confluence, a dreamlike and wistful opening seems to be meandering to nowhere in particular with is deliberately slow tempo and Steve Hogarth’s hushed spoken word vocal barely heard in the background. It’s a wistful, contemplative tapestry on which a beautifully mournful soundscape is created. The music has a thoughtful and reflective ambience as it dances gently across your aural synapses and belies its ten minute plus length. This song is a testament to Gleb’s creativity as it twists and turns to gather pace before applying the brakes, always demanding your attention, an introspective piece of music that leaves a lasting impression on your mind. Constellation The Bell is a moving song that has a barely hidden fragility behind the impressive piano playing, an eloquent and expressive three minutes that leaves a hollow feeling behind. There’s a grandiose and ebullient impression to the short lived Echo Sigh Strand, a track where Gleb’s piano playing seems to emanate from his very being to come alive and it crackles with electricity, powerful and exciting.

Penrose Stairs carries on the pomp and circumstance with added theatrics, a vibrant and imposing track aided and abetted by Gleb’s stellar accompanying cast of musicians. However, it is the intricacies of his skillful piano playing that is always at the core of these songs. The involving complexities of the elaborate Storyteller take on a slightly menacing tone as Jordan Rudess’ instantly recognisable keyboard skills take over, it’s quite a thrilling joyride from beginning to end. All good things must come to an end and the dulcet tones of Steve Hogarth herald the closing track on the album The Best of Days. A fantastically nostalgic song where Gleb and Steve work together perfectly to deliver a sentimental track that tugs at the heartstrings. It’s hard for me to put my finger on it but there’s just something about this song that really works and, to my ears, it is near musical perfection.

I met Gleb at this year’s Summer’s End festival and he is a quiet, polite and very unassuming man, perhaps it is through his creative side and his music that he can really express himself. This self-titled solo debut is pretty much a work of art where the undoubted piano playing skills of this virtuoso musician are complemented by some of the most prominent musicians around to give us something quite wonderful and ultimately rewarding and something which I cannot recommend highly enough.

Released 23rd February 2018

Order ‘Gleb Kolyadin’ from Burning Shed here

 

Review – Sills & Smith – Maps-Burned or Lost – by Progradar

“Without music to decorate it, time is just a bunch of boring production deadlines or dates by which bills must be paid.”
― Frank Zappa, Real Frank Zappa Book

I think Mr Zappa hits the nail very much on the head with that quote, life can become very monotonous without something to lift it and that something, for a lot of people, is music.

Now it’s well known that I’m not a fan of the repetitive modern music that makes up the charts nowadays but, if that is what people listen to to make the drudgery of modern life better then who am I to tell them what to listen to?

For me, and many others, it is the well crafted song, the collection of perfect notes that resonate with me and put a smile on my face or help me get through difficult times in my life.

I was introduced to Canadian band Sills & Smith, a project of singer/songwriters Jeremy Sills and Frank Smith, a couple of years ago by their previous release ‘Echoes in Time’ and was immediately hooked. Since thenFrank has kept me updated on the progress of their sixth album ‘Maps – Burned or Lost’ which was released on the first day of the new year.

Recorded by famed producer Phillip Victor Bova, it is described as ‘an epic musical journey, with 14 songs and close to 70 minutes of music that careens between pastoral folk, to trippy rock to progressive rock.’

‘Maps – Burned or Lost’ sees Jeremy and Frank take the next step in their musical evolution and this new collection of 14 delightfully involving songs takes you on a wonderfully engaging musical journey. There’s the slow burning quality of album opener On The Edge, quite an indictment of  the world we live in with its scathing, pithy lyrics and edgy guitar work, the solo just drips scorn and disdain. Frank’s deep and distinctive vocal is as good as ever on this clever track, a superb start to proceedings. There’s a melancholy grace to Kings with its deliberate opening and Frank’s sombre vocal delivery. A song with perhaps a lofty self-important tone, a nostalgic take on days gone by, Jeremy’s lighter vocal is a well judged contrast and the music is just sublime. Frank and Jeremy have surrounded themselves with a stellar cast of musicians that lend the whole album an air of class and sophistication. A Freight Train is a mournful bluesy feeling piece of music, slow burning, calculated and thoughtful with a moody hammond organ providing a layer of gravitas and solemnity. There’s a soulful core to the music and the vocals that seem to bleed a touch of despair and despondency, a properly moving song.

A wonderful song from start to finish, the wistful folk feel to Maps gives it a timeless grace from the humble vocals to the superb unpretentious chorus. This is music written so that every note, every word has its place and is as important as any other, it is storytelling of the highest calibre and it moves me on a most personal level. That carefree, easygoing atmosphere seeps into Waves, a song where the introduction just seems to take you to a place of warmth and love. The chorus is as light as a feather, the music has a charm and grace that leaves you spellbound. Frank’s contemplative vocal opens No Measuring, a thoughtful song with a plaintive, slightly sad feel to it. There’s almost a hushed aura to the music with the elegant piano and the toned down drums. Contemplative and pensive with a flighty flute playing, it leaves me in an introspective frame of mind.

The elegant mandolin that opens Take Care joins with Jeremy’s vocal to give a feel of fragility and beauty and the harmony with Frank adds even more intangible charm. A pared back and willfully sparse song that implores you to take care of yourself with a rarefied dignity. A proper country feel pervades the opening of The Offer and Frank even has a touch of Johnny Cash to his voice, deep and meaningful, it’s a great counterpoint tot he lightness and elegance of the chorus and the slow steady pace of the track lulls you into a place of calm and reflection. Now onto possibly the most upbeat and funky song on the album, there’s a feelgood atmosphere to Grave Fascination with its edgy guitar and offbeat drums that really gives you a lift. Nothing flashy or garish, just a great song that is delivered with confidence and bravado and has you tapping your feet and nodding your head in unison with the beat.

The excellent singer/songwriter vibe returns on Wash Away, Frank’s voice leading the contrite, almost regretful song with the music underpinning the song in a respectful manner. Again, the pared back quality adds to the track, especially on the great guitar work. Alternative and indie in its delivery, Miss Us is a song with an acerbic edge, especially on the biting lyrics. I love the tightly performed guitar solo and the rhythm section that runs throughout the track. This song is a real release of pent up energy with its almost punky, staccato emphasis and it works brilliantly. Mercy begins with a dreamlike atmosphere touched with a feel of melancholy, especially when Frank’s vocal begins. There’s a forlorn mood that settles on the song, a pensive and sombre mood that never breaks right to the close.

Window Through Her Mind is another example of the songwriting skills of Frank and Jeremy. The wonderfully ethereal music is paired with superb vocals again telling a story of nostalgia and remorse, one that demands your attention and draws you in to sit enthralled as it plays out before you. All good things must come to an end and ‘Maps – Burned or Lost’ closes with At The End of The Day an allegorical tale of life as it is today. The graceful and harmonious music and telling lyrics seep into your very soul, I can imagine myself listening to this song with a glass of red wine in my hand, contemplating life, the universe and everything. It’s not a demanding listen but it is one that does require your attention.

Frank Smith and Jeremy Sills have delivered their most profound musical work yet, ‘Maps – Burned or Lost’ is a wonderfully involving collection of songs about love, life and loss that is very relevant in this turbulent world we live in today. You can lose yourself in the well wrought words and the excellent music and come out of the other side in a much better place than you started and that’s what I want from my music.

Released 1st January 2018

Order ‘Maps – Burned or Lost’ from bandcamp here

Review – Bjørn Riis – Coming Home – by Progradar

Haunting and Melancholic are two words that can definitely be used to describe the songs that Norwegian musician Bjørn Riis has delivered on his last two solo releases, ‘Lullabies In A Car Crash’ and ‘Forever Comes To An End’. There is a fragile beauty and poignancy to Bjørn’s songwriting that gives it a captivating, hypnotic attraction.

Airbag co-founder, songwriter and lead guitarist, Bjørn will release his new mini album titled ‘Coming Home’ next month on Karisma Records. His unique guitar playing has a centre role, with soaring leads and beautiful textures.

“I’ve always felt that the guitar is an extension of me and a more comfortable and natural way of expressing myself musically” – Bjørn explains.

“I’m really happy and proud of the vocals this time and the duet with me and (Norwegian singer) Sichelle on Drowning is very emotional” – Bjørn continues.

Lyrically, ‘Coming Home’ deals with the fear and insecurity of being forgotten by the people around you. You imagine all these dramatic scenes and wonder if you’ll ever be missed if something really was to happen.

‘Coming Home’ also features a newly recorded semi-acoustic version of the title track of Bjørn’s 2014 solo debut, ‘Lullabies in a Car Crash’ (Karisma Records). “Lullabies just fit right into the mood and theme of this album. It’s almost become a new song. It’s very honest and moving” – Bjørn explains. The track features Airbag and Bjørn Riis Band touring guitarist Ole Michael Bjørndal on lead guitar.

‘Coming Home’ is almost like a story where the scene is set by the brooding and darkly hued opening instrumental track Daybreak. A real slow burner, it takes a while to get moving with just a building sound that reminds you of a bleak and windswept vista before the deliberate, musing guitar fills the soundscape with a contemplative feel.

A sparse acoustic guitar washes over at the start of title track Coming Home, Bjørn’s slightly faltering vocal is full of emotion as this elegant track continues to gently lull you with its charms. A more laid back feel than the previous album emanates from every note and word as the music seems to meander towards an unseen destination. There’s a slight pause before Bjørn delivers a superb, note perfect guitar solo filled with passion and longing, one that soars high and free as a bird. As the song comes to a close I feel some kind of nostalgic yearning that I just can’t explain.

The wistful, contemplative tone continues with the fantastic Drowning, a song filled with feelings of loss and recrimination but one that still has a sense of wonder about it. The calm and serenity of the guitar and Bjørn’s vocal that open the track can’t shake an underlying aura of foreboding. Sichelle’s vocals add a fragile grace to the harmonies and the music gains added intensity, the guitar giving urgency and desperation to proceedings until it breaks like waves on immovable rocks. Sichelle takes us towards the end with a voice full of regret, the guitar adding a somber accompaniment as we come to a close.

Tonight’s The Night is a haunting (there you go, I told you!) instrumental that has you on the edge of your seat from the first note with its insistent piano and tense , ill at ease mood. There is no let up from beginning to end and I found myself visibly relaxing as the song came to an end.

The acoustic version of ‘Lullabies in a Car Crash’ unsurprisingly has a lighter tone to the other songs, a sepia-tinged piece of music underpinned by a wonderful acoustic guitar. The vocals are gossamer light giving the whole song a 70’s carefree spirit before a subtly powerful guitar solo gets under your skin and takes you to a place of utmost calm and reflection, without a care in the world. A remarkably honest reworking of the original track, it really is like a completely new song.

‘Coming Home’ feels like a very personal collection of songs, full of emotion, haunting and charismatic yet sparser and darker than Bjørn’s previous solo releases. Like all the best music, it needs to be listened to with little or no distractions to enjoy it in all its highly impressive glory. Bjørn Riis is one of those musicians who just gets better and better with each release, highly recommended.

Released 23rd February 2018

Pre-orders open soon at  Bjørn’s website below:

http://www.bjornriis.com/recordings/

 

 

Review – Transport Aerian – Therianthrope – by Progradar

The review of this new release from avant-garde/art rock musician Hamlet’s Transport Aerian project has been a very difficult one to write. Hamlet is not afraid of talking and writing about difficult subjects and, in the case of ‘Therianthrope’, expressing his thoughts through his music.

‘Therianthrope’ is described as an album whose themes are dedicated to the emotions of the mind, torn by different assets of mental illness in the context of quickly developing world on the brink of the war, social and economical catastrophe. In the other worlds, it explores a twisted, ugly side of anyone of us in the modern world.

Not exactly warm and cuddly then? However music has always been there to explore all kinds of emotions and themes and it is how it does this that really matters.

The PR informations goes on to say:

“Besides the conventional music pieces, ‘Therianthrope’ also features The Abstract Symphony, a set of songs and instrumental pieces based on blind improvisation by the team of guest musicians. Nobody knew what the other musician would play, as they were only given a theme to describe and photographs to emphasize the visual in the sound. Such experimental approach is a manifest of modernity, an information field that contains the similar artistic concepts and thus allows any music to be created out of idea, without other forms of direct physical or intellectual interaction.”

The mood is set by the dark opening track Smirking Sirens which has a grating rhythm and seems to feed on your nervous energy. The music is harsh and Hamlet’s vocals are as direct and accusatory as ever. This is the singular style that I have come to expect from this unique musician and it carries on with the next track Pitchfork Martyrs. There’s almost a funereal tone to the music, a dark but actually enjoyable dirge. I’m still on the fence with this album but it is beginning to grow on me, insinuating its darkened charms into my soul. Let You Never Perish and Destroy Me carry on with the obsidian, sombre mood. These are songs that are written to convey the depths of twisted, darkened human minds where depression and insanity are never far away but they do so in a captivating manner. You find yourself unable to turn away, almost like the old days of hiding behind the sofa but wanting to sneak a peak at the horror film showing on the TV. It is clever and intelligent songwriting that keeps you right in the middle of the story.

The Abstract Symphony sections follow, woven through the standard tracks, and this sees such talented musicians as Marco Ragni, Peter Matuchniak, Rachel Bauer and Darren Brush join Hamlet in improvised sections of music where none of the musicians knew what the other was playing. It is a really ingenious way of creating music and left me intrigued as to what they would come up with.

I : Information Field and II: Saturate really stretch the listener, this is not music that you can lay back and let wash over you, it demands your attention but is never anything less than an absorbing listen. You will return to this album time and time again and come away with different impressions of these tracks, thought provoking and stimulating, they really do ask questions of you that you may not even want to answer. September appears like a light in the darkness, a veil lifted and a mind rescued from obfuscation. Hamlet’s vocals are intertwined with the more dulcet tones of Rachel Bauer and give the track the feel of an oasis in a sea of darkness, pain and confusion. Stefan Boeykens lead guitar is superb, however the ever present fog of confusion is never far away…

III: Lovemeat is another journey into the creative minds of the musicians and has a soundtrack atmosphere to it, like a quirky independent movie where you never quite know what is happening, tension and surprises at every turn. Hamlet is joined solely by Darren Brush’s Chapman Stick for the enigmatic and Delphian feeling Eternal Guilt, a powerful foray into madness and insanity in a musical form. A painful and harrowing listen but one which adds candour and honesty and a piece of music that had me on the edge of my seat and holding my breath throughout. The slow burning guitar solo is genius.

IV: Poor Things Need ( A Common Interest) is another inventive slice of music that actually has a real laid back feel to it, almost a folk/roots music style. There’s still a fragility at the core, a feel that this is a rarely seen period of lucidity where a cry for help can be given and understood. Lions is beautifully melancholy and sombre, Hamlet’s vocal imparting a vulnerability that cries out for help. I find myself getting lost in the music and the lyrics, there’s no darkness here, just a raw and open candor and pain. Marco Ragni and Peter Mantuchniak add brillaint guitars that just help this song be as humanly honest as possible.

The last Abstract Symphony V: Immortals brings these great sections of music to a close with a real jazz infused feel. Layers of guitars, dulcimer, Chapman Stick and keyboards contribute to an abstract piece that, along with Rachel’s narration, connects with you at a very basic level, the music infusing itself into your very soul. This deeply passionate album comes to a close with Last Years of Peace, an atmospheric and involving experience that leaves you in a reflective and contemplative frame of mind. There’s an almost oriental note to the music with its mesmerising, hypnotic harmonies and I actually feel myself  relaxed and calm as it comes to a close.

‘Therianthrope’ is not intended to be an easy listening experience, it is a thought-provoking and sometimes actually quite raw and painful musical journey that should be consumed in one listen to understand and get the most from it. It is an intense and intensely satisfying record that proudly steps away from the expected to deliver one of 2017’s more engrossing and stimulating releases.

Released 17th November 2017

Order ‘Therianthrope’ from MRR here

 

 

Review – Believe – 7 Widows – by Progradar

Happy New Year to one and all and here is my first review of 2018. Believe is a Polish progressive rock band with a long history of line-up changes and beguiling, immersive music and the new album ‘7 Widows’ is no different.

The band formed in 2004 and 2017 sees only two of the original members still present.  Mirek Gil (guitar) and Przemek Zawadzki (bass) are joined on the new release by Łukasz Ociepa (vocals), Robert Qba Kubajek (drums) and Satomi Yasutanya (violin, keyboards).

I first heard Believe when I got a copy of the band’s 2013 album ‘The Warmest Sun In Winter’ and was immediately drawn in by the warm, welcoming sound and delightful vocals. It was at a time when Polish progressive rock bands were really coming to the fore, led by Riverside of course, but other artists like Anvision, Light Corporation, Osada Vida and Votum (to name but a few) have really elevated the progressive acts from that country.

‘7Widows’ is the band’s first foray into concept albums and each song is a story of one widow parting with someone special. A set of seven sad songs, dealing with loss and pain, where no two tracks are the same. Intriguing then? I thought so, let’s immerse ourselves further…

The tracks are numbered I through to VII, leaning more towards chapters in a story than tracks on album and the opening song introduces that warm, neo-prog sound that seems to epitomise Polish prog nowadays. The lush, layered melodies are complemented by some stylish guitar playing and while this is a melancholy subject, Satomi Yasutanya’s violin adds some real sophistication to the song. Emotive vocals from new singer Łukasz Ociepa impart the sadness yet this is a really immersive tale that draws you in. The sublime music continues with II which has a sparser, more plaintive feel. Plaintive vocals with just a int of vulnerability work with the violin to give a slightly edgier tone, hinting more at anger and raw pain. Mirek Gil is an accomplished guitar player and he drives and directs the songs, aided and abetted by the great rhythm section of Przemek Zawadzki and Robert Qba Kubajek. The wonderful violin and guitar section really touches you on a basic, emotional level, we are listening to something special here.

The descent into the darker depths of sorrow carries on with the sorrowful, pensive tone that pervades every nook and cranny of III. Lukasz has such an expressive vocal and the way he opens up on the powerful chorus is pretty impressive. This track ebbs and flows like all true emotive journeys. The music turns much darker and sombre on the ominous IV with its powerful introduction, full of foreboding keyboards and a feeling of someone right on the edge. It opens up into what seems a questing journey, a search for answers to difficult questions. Believe seem to have really stepped their game up for this new album, intelligent songwriting and musicians at the peak of their powers.

A harder, edgier guitar led sound opens V before the mournful violin takes over, backed by some clever drumming from Robert. The lush sound is stripped back once again to be replaced by something raw and sensitive, mirroring the feelings of loss and pain. This mood segues into VI, a song with a wistful and nostalgic atmosphere, the vocals being a counterpoint to Marek’s questioning guitar. A look back at a life now lost but perhaps with a feel of remembrance imbued by the violin along with the ever present regret and loss.

This impressive album closes with the towering VII, a song where all the feelings of loss, anger, regret and nostalgia come together in a display of raw musical power. The compelling introduction feels like a complete outpouring of grief and bereavement before the emotive and touching vocals add an honesty and sincerity to the song. A passionate tale of love lost and a heartbreaking parting that brings a lump to your throat.

After four years Believe have returned with a superlative and deeply engaging collection of incredibly expressive songs that tell of loss, love, pain and regret. This is a creative and perceptive album that captivates and enchants, you feel the raw sorrow and comprehend the emotions and that, my friends, is what truly great music can do.

Released 25th October 2017

Order ‘7Widows’ from Rock Serwis here

 

Review – The Winterlings – American Son – by Progradar

Music touches us, affects us and moves us every day. It doesn’t have to be up-beat cheerful music to make us happy and mournful, sorrowful songs won’t always make you sad. Music has a beauty and grace however it is sung and played.

I’ve been listening to the fourth album from American roots and folk duo The Winterlings and, it must be said, ‘American Son’ is not a release full of mirth and frivolity, it’s a collection of songs from the heart, delivered with honesty and sincerity and one that will move you on a most personal level.

Wolff Bowden grew up in a house on stilts, fifteen feet above a Florida swamp. In Wolff’s dreams it was always winter, stood beside a bonfire, singing to half-animal, half human beings called Winterlings. Two decades later they had come to symbolise life’s deepest callings and he abandoned medical school for visual art.

Around the same time Amanda Birdsall was working on a doctorate in psychology when she looked down to find her notebook full of song lyrics. Walking out of class, she grabbed her guitar and drove to Canada to work on organic farms in exchange for food and tiny rooms to write songs by candlelight.

After meeting at a Buddhist fire ritual, Wolff and Amanda drove from Florida to the Pacific Northwest where they soaked up seven years of rain to give birth to over fifty songs. Singing from the depths of the American wilderness, The Winterlings shine their literary lyrics on subjects ranging from trangender Civil War soldier Jenny Hodgers to a friend’s lung transplant…and the life story of a housefly.

‘American Son’ is an intense experience from start to finish, opening track The Ghost of Leonard resulted from Wolff being visited by the ghost of Leonard Cohen while deep in meditation and it is quite a dark and yet deeply moving song with Wolff’s deep vocals reminiscent of the great man himself. Mournful and fragile, accompanied by the ethereal beauty of the violin and acoustic guitar, it is incredibly poignant and left a rather large lump in my throat. Title track American Son is songwriting at its basic and very best with an addictive chorus and a feeling of regret running throughout. The sparse instrumentation is the backdrop on which Wolff’s distinctive vocal weaves its story, Amanda adding her more lustrous voice in a great harmony.

Gold has a feel of the Old West to it with the opening languid harmonica and Amanda’s vocal brings in a real 70’s folk feel. Wistful and nostalgic at heart, there’s an unhurried frankness to the song. The easygoing guitar brings your pulse rate down and a calmness and composure envelops your very being. There is a sombre grace to both Birthplace and The Dead, imbued by Wolff’s excellent voice and the basic grace of the music. Touching and sentimental, these songs really get to you on a personal level, I find myself stopping whatever it is I’m doing and just listening. They are captivating and bewitching and the ability of Wolff and Amanda to hold you in their spell is incredible.

There’s more of a lighthearted feel to Owl Mountain with it’s childlike charm and innocence. Amanda’s voice is a great counterpoint for Wolff’s more earnest and austere delivery and the sparsity of the instrumentation works perfectly. With a feeling of regret and loss, Puget Sound really tugs at your heartstrings with its raw heartache and yet it really touches you with its candid sincerity, you can’t help but become caught up in the story that is being laid out before you.

Sunspeech takes the allure of a simple acoustic guitar and Amanda’s wonderful vocal to give you a song that seems to be able to cleanse your soul. The plaintive strains of the harmonica add a real wistful, sepia tinged atmosphere to this absorbing piece of music and a touch of sadness fell over me when it came to a close. Wolff’s vocal has a rueful almost remorseful edge as he sings the opening lines of World To Change, there’s a feeling of restful change about the lyrics, “We won’t wait for the world to change…”. A plea to the world to change before it’s too late. That Was Alaska closes out the album on a thoughtful and reflective note and ,as the last note is played, I realise I’ve been at the centre of an utterly inspiring and satisfying musical journey.

With ‘American Son’ melancholy and wistfulness have never been so beautiful. A beguiling and entrancing musical journey through love, loss and regret where you feel every high and every low. The Winterlings have delivered a superb collection of songs that will stay with me for a very long time.

Released 1st November 2017 in the UK.

Order ‘American Son’ direct from The Winterlings store here