Tag: Progradar

Review – CIRCU5 – Clockwork Tulpa

Clockwork Tulpa is CIRCU5’s first album release as a full band, with Tin Spirits frontman Mark Kilminster and drummer Lee Moulding joining founder Steve Tilling. “Apart from a few guest spots, the debut album was a solo effort – and quite a lonely experience,” says Steve. “With Mark and Lee in the band, CIRCU5 can now establish its own unique identity. I’m excited about where we can take the band next.”

The album comes nearly eight years after CIRCU5’s eponymous 2017 debut. The extended gap was due to Steve contracting Long Covid and committing to projects with ex-members of UK rock band, XTC. “The songs reflect life’s ups and downs during that time. But I learned a valuable lesson: don’t be swayed by the plans of others. Stay true to yourself and your goals.”

Clockwork Tulpa continues the story of ‘Grady’: a troubled character moulded from birth by the mysterious CIRCU5 organisation. “It’s not just storytelling,” says Steve. “It’s a reflection on how people navigate the trauma of tough childhoods without falling prey to isolating belief systems. But ultimately, it’s about making the best songs we can.”

CIRCU5 (pronounced ‘circa five’) is a UK band blending prog and classic rock influences with evocative songwriting and storytelling. Founded as a solo project by lead singer and guitarist, Steve Tilling, CIRCU5’s 2017 self-titled debut album featured performances from guests including Dave Gregory (XTC, Big Big Train) and Phil Spalding (Mike Oldfield).

‘Clockwork Tulpa’ is a collection of frenetic, high energy compositions with delicious and catchy hooks and a sound not unlike mixing early It Bites with XTC, The Jam and even touches of Julian Cope and Teardrop Explodes. It is a very addictive sound and the edgy, almost chaotic delivery of the tracks works brilliantly. Steve describes CIRCU5 as being a mix of prog and classic rock but I think you have to throw a bit of punk and also some alternative 80’s rock in there too!

The relative briefness of the songs also works in the album’s favour as each new piece ratchets up the drama and pace a little bit more. Album opener Make No Sound could have come straight from an 80’s Francis Dunnery led It Bites album but one with a touch of punk’s righteous energy and disregard for authority. Steve has a fantastic hard edged vocal and his guitar seems to have a life of its own, Lee hits the skins as if his life depends on it and Mark’s bass sits there with knowing nod. It’s all a bit mad, bad and utterly exciting and the high octane thrills continue with Sing Now, the bass on this track is especially cool, striding defiantly forth with Steve’s funky guitar and Lee’s ever energetic drumming in tow. What you get different here is the complete sea change when the chorus is sung, all sweetness and light and very clever songwriting, I may add. One of the first tracks released from the album, Freakshow Train adds a bit of pomp and a little bit of circumstance to proceedings. The energy and vibrancy kept in check in exchange for a pulsating rhythm and husky vocal, all making for a mighty fine song indeed and one of my favourites on the album. Another single release is the rather dynamic Skin Machine, thumping drums, a squirrelling guitar and delicious bass adding drama to Steve’s commanding vocal performance and giving us a widescreen wall of sound.

Straight from the 80’s and another nod to It Bites, Infinite Lucid Geometric Fever Dream (yes, that really is the title!) is a flat cap wearing, jaunty romp of a song and one that never lets the smile leave its face. If your foot was tempted to tap on this album then it wouldn’t be able to hold itself back here! The epic cuts just keep on coming, title track Clockwork Tulpa has more of the intensity and vitality that runs through the core of this fine release and the music really is The Jam inspired with the hyper wired guitar and frenzied drums and bass, let me get my breath back! Phew! Thanks guys, Violet turns down the forceful fervour a notch, not much mind! To my ears, there’s a definite touch of Tin Spirits to this track and I can quite imagine that Mark had a hand in this rather impressive track with its jangling guitars, uber-cool bass and excellent drums.

There’s a feeling of quirkiness to the Laid back groove of Change the Weather, a rather splendid piece of music where Steve really shows his vocal prowess and the guys just jam superbly to deliver some fine music. Don’t Spare Me takes the rampant energy on show and harnesses it into something more considered, while not losing any of the potency and vibrancy that makes this album what it is. Hard rock and a touch of prog combine perfectly to produce an excellent song that stays in your mind, I really like this track. The lazy, hazy days of summer are brought to mind by the delightful Scars and any track that has a trumpet on it will always put a smile on my face and Alan Bateman does that with style here. This song is like a musical breath of fresh air, all sweetness and light, as it dances across your synapses, the elegant bass and drums adding a layer of sophistication. The guitar is superb (a nod to Paul Clark for his additional lead here) and Georgia Tilling adds some gorgeous backing vocals to this sepia tinged delight. What a wonderful way to finish an excellent album!

I was a big fan of what Steve Tilling did with the debut CIRCU5 release but the addition of two fine musicians in Mark Kilminster and Lee Moulding has created a group of musicians that seem to act as one and in perfect harmony. ‘Clockwork Tulpa’ is a collection of consummately crafted songs that come together as a brilliantly cohesive whole and that makes it one of the best albums you will hear this year.

Released 7th March, 2025.

Order from the band’s website here:

https://www.circu5.com

Review – Pattern Seeking Animals – Friend Of All Creatures – by John Wenlock-Smith

Pattern Seeking Animals have recently released ‘Friend of All Creatures’, their fifth album in five years. They have also changed the label from InsideOut to G.E.P but, otherwise, it’s pretty much the same as earlier releases, i.e. this is a band that, in tandem with excellent writer John Boegehold, take the core of Spock’s Beard to create new music that is not suitable for the Beard and release it under the PSA banner. As a result, John has an alternative outlet for his newly written music, making it a win-win situation for all parties.

With Spock’s Beard being largely inactive in recent years, largely involved in other things but still a going concern as such, it is into this vacuum PSA have stepped to fill the gap. They operate in a similar vein, offering longer progressively inclined songs with meaning, and with no lack of skill, to craft strong, modern sounding music that will appeal to progressive music followers.

This new album continues in that same style, by offering a further seven tracks of carefully curated prog rock. As is usually the way with Pattern Seeking Animals, you need to hear the album a few times for the songs to “drop” as it were. Certainly familiarity with the music will definitely be to your benefit. Again, I can hear Elements and traces of bands like Kansas and Styx in how the songs are built in layers and with hooks everywhere to grab your attention.

The album starts with Future Perfect World, which is one of the four longer tracks. It starts with a simple riff and lots of keyboards gently playing away, there is also some Hammond organ at points, creating a very good wall of sound. The vocals from Ted Leonard are pitched perfectly, as one would expect. The group is a four piece with guitar and vocals from Ted, drums from Jimmy Keegan, bass from Dave Meros and keyboards, programming, mellotron, guitar and ronrocco (mandolin like stringed instrument from the Andean regions) from John Boegehold. John also provides some vocals and production, in Reality he is the driving force of the band, although more than ably assisted by the others. The song has a strong chorus and is very much an ear worm of a track, barely a moment being wasted as each minute adds new textures and complexities. Another Holy Grail is the album’s longest track and is a very complex creation with lots happening at various points. The song seems to be about searching for a way to move forward in an ever changing world. There are sections of orchestrations in this track which split the track into sections really, making for a long track but a very briskly moving one that is always changing in a new direction and this keeps the interest throughout. I really like that the song evolves over its twelve minute length. Down The Darkest Road has a haunting, mournful beauty to it with a moving viola line and part from Eliza James which adds beauty to the song. It also has a strong chorus calling us to follow down the darkest road, a very captivating track indeed. In My Dying Days is equipped with a Duane Eddy type guitar type riff and also has a great brief solo from Ted, who continues to grow in confidence in his playing on every album.

The Seventh Sleeper begins with a sequencer playing a repeated motif before a synth lazily winds its way across the track. This is aided by fine rhythmic support from Jimmy and Dave and underpinned by some rhythm guitar lines from Ted, who sounds very much like Steve Walsh of Kansas here, no bad thing for me at all The track is laid back in tone with an almost piano bar part in it, all very languid really despite a sinewy guitar line playing. I do like this song as its somewhat different to what PSA normally deliver and it certainly stays with you. The brief Days We’ll Remember has a laid back feel, along with a strong chorus that swells in sound. The song is about memories that stay with you for a long time and is a very upbeat song and, lyrically, extremely strong, another great track. The album finishes with Words Of Love Evermore, another longer track with strong synths in the opening section and great guitar from Ted. To me, the song’s meaning is a little obscure but a lively guitar solo towards the end grabs the attention significantly. It’s a very interesting track and one that concludes another fine set from the band. 

Pattern Seeking Animals continue their ongoing progression as they develop and improve album by album. ‘Friend of All Creatures’ is another highly recommended album from a group who continue to grow in stature and this album shows that very clearly.

Released February 14th, 2025.

Order digital from bandcamp here:

https://pattern-seekinganimals.bandcamp.com/album/friend-of-all-creatures

Order the CD from GEP here:

Pattern-Seeking Animals – Friend of All Creatures

Review – Random Option – One – by John Wenlock-Smith

David Jones (bassist for both The Swan Chorus and Mama) is a very productive man indeed. This new release following on from his own solo album of 2022, he excellent, almost art rock influenced, prog album which saw him join forces once again with Brian Hulse and Peter Goddard, who were both involved with an earlier album that Tim Bowness was involved with called ‘Moonshot’. An album which was part of the inspiration for Tim’s own album of 2017, ‘Lost In The Ghost Light’, which chronicled the fading years of a fictitious classic rock musician. This concept was explored more fully on the ‘Moonshot’, and all of these had David’s involvement to some degree.

This latest release from David is both a departure from, and also a reinvention of the styles he has used in these other projects, not forgetting the 2023 release of The Mousetrap Factory, which featured older material being reappraised and approached with fresh ears and better technology, alongside more experience. Much as Robert Reed has done with his Cyan albums and to a similar good effect.

The album has eight tracks of differing lengths and moods, the first of these, Tomorrow, has an instrumental opening section of acoustic guitar before the drums of James Cooper come powerfully into the sound. Next comes the guitar of Brian Hulse and then David’s meaty bass and the organ of Anthony Wretham complete the mix. After all this excitement there are the excellent vocals of David’s Swan Chorus bandmate, John Wilkinson, who is proving himself to be a big asset to anything he is involved with, like the excellent Ellesmere album of last year and his own solo album, ‘Imposter Syndrome,’ which was my favourite vocal album of last year. Well, here again he is in very fine voice and with material that is interesting enough to give him a platform on which to shine once more. As Blue As The Sky has an almost ambient sounding opening and bears a strong resemblance to the great music that Swan Chorus make. There’s great piano from Anthony Wretham again and another strong vocal that, along with a graceful guitar line from Brian, make this another winning song for me, it has a real majesty to it. Redemption again opens with ambient sounds and a gentle piano motif. There are also some soaring vocalisations from Sian Doyle which greatly impress, as does her harmony vocals in the main body of the song It is a bit of slow burner of a track, very atmospheric in tone but very impressive all the same. A heavier, more typically prog, section follows with great organ from Anthony and an almost spiralling synth line being played. This is another longer yet very strong track. Autumn Song is next and this is a lot lighter in tone and has a definite bounce to it. I really like this one, it has some great effects in it and a fine melody as well.

The album’s Title song One has more ambient background sounds in its opening part before a strong and harder riff is introduced along with powerful bass and some great guitar lines from Brian The track then returns to bass for a more delicate part with tinkling piano and Hammond organ before another fine line from Brian is added. The drums and bass re-emerge once again before John’s vocal commences. After the first verse the song changes tack and becomes more of a gentle canter, all very effective, before the heavier, powerful part from before begins once again, giving great dynamics to the track. We then move into a gentle and more dreamlike section with simple drums and more evocative guitar. This is another fine track enlivened by fabulous performances from all parties as the song gently fades away. Along Similar Lines sees vocalist Peter Goddard of The Mousetrap Factory deliver the vocals. A long-time collaborator of David Jones, he basically speaks the words over the music, which has a distinctly 80’s sound to it, possibly to recreate the style The Mousetrap Factory used to operate within. Sail Towards The Sun is the albums penultimate song and begins with delicate acoustic guitar melodies and expansive keyboards. It’s all very gentle and captivating before a strident synth line begins and John starts singing once again. The final track, World Is Changing, expands in sound with a strong chorus and more synths, the song has impassioned vocals and a delicate beauty to it and is a fitting conclusion to what has been a very worthwhile album of great material from David and his colleagues.

Also worthy of mention is the very atmospheric artworks from Anthony Wretham who work adorns the cover and inside sleeve of the digipak cd version

I really enjoyed this album, I feel it has a lot to commend it and, whilst we all wait for the next Swan Chorus album to emerge (sadly without John Wilkinson’s vocal), this fine album will fill the gap in the interim.

Released 1st march, 2025.

Order from bandcamp here:

https://randomoption.bandcamp.com/album/one

Review – The Far Cry – Once There Was – by John Wenlock-Smith

I came across ‘Once There Was’ via a post from Don Skazin on the Prog Explorations Plus Facebook page and was suitably intrigued enough to reach out the band offering to review the album for Progradar, proof indeed that social media can make a difference. I contacted Jeff Brewer, The Far Cry’s vocalist and bassist who very kindly sent me a CD of the album to get to grips with.

The album has four songs, ranging in length from the short (by their standards at least) The Following through the longer tracks, Unholy Waters and Crossing Pangea, to the truly epic 12-part title track Once There Was. Alongside Jeff are Robert Hutchinson on drums, percussion and spoken word, Chris Dabbo on keyboards and vocals and finally Brendan Kinchla on guitars. The album is encased in a neat digipak sleeve with a booklet with full credits and lyrics.

To my ears, Unholy Waters bears a strong resemblance in sound to the legendary band U.K. Especially in both the keyboards and vocals. This is not a criticism, merely a comment that do find this track similar in style. Mind you, I like U.K. a lot, so this works for me too. Many a band wear their influences on the sleeves clearly but, when the music is as good as this, it doesn’t really matter or devalue it at all, especially as U.K. are no longer in existence as such. The song concerns itself with mysterious places like the Bermuda Triangle and the like and the lyrics reflect this very convincingly. I especially like the strong bass work from Jeff and the Holdsworth-esque guitar line from Brendan, which adds great dynamics to the very impressive sound of the album.

Crossing Pangea is an instrumental with a suitably journeying sound to it, giving the impression of movement or travelling. There are lovely fluid guitar lines running through it and the urgent rhythm section powers the track along very happily and impressively. I really do like this track as its moods are very strong and different showing that these musicians are very talented and highly competent in their playing abilities. There are some great piano and synths on this track and it rattles along through its twelve and half minute run time in some style. There’s a great bass part from Jeff on this track, really strong and when overlayed with the keyboards of Chris, it sounds really splendid. This piece is an evolutionary stroll of a track, very impressive stuff really, especially in the closing part of the song. Next is the shorter The Following which commences with a rippling piano line. The song addresses the futility of war as told in the story of blind allegiance and following such leadership. It questions why we follow such dangerous leadership into destruction and pain and it makes a strong and valid point.

The final track is the album’s multi-part title track Once There Was. This consists of twelve parts of which five are instrumental in nature.This is a very interesting song with lots happening in its various sections. The song addresses the demise of a town as it gets left behind as life changes, often in unexpected ways. There is a long keyboard based solo on The Agitation section of the track, all very ELP like in nature. The Far Cry are certainly unafraid to show their influences in such a manner. In fact, I find their approach very refreshing and I like how they pay honour to the past greats by using their sounds as a template for creating something that is their own. This is far better than the plagiarism that can be a component in many modern prog bands rather than treading the delicate balance between homage and the forging of a new path. This song was the first written for this album apparently, with parts from various members being worked on together to make this epic piece of music.

On ‘Once There Was’, I find that The Far Cry have found a balance that works in their favour, and that’s no mean feat. This is to the commendation of the band and bodes well for future releases they may make. I really think this album will appeal to many prog Fans as a band like The Far Cry are truly making new wine from old skins, as they say. So, if Neo-Prog is your bag then you must check these guys out for yourself.

Released 1st March, 2025.

Order from bandcamp here:

https://thefarcry1.bandcamp.com/album/once-there-was

ENVY OF NONE’S NEW SINGLE ‘THE STORY’ OUT TODAY WITH NEW VIDEO, TAKEN FROM THE HIGHLY ANTICIPATED NEW ALBUM STYGIAN WAVZ

Ahead of the release of their new album Stygian Wavz (28th March, Kscope), American/Canadian fourpiece Envy Of None have shared a brand-new single today. The second track from the new album, ‘The Story’ holds a special place in each of the band member’s hearts and is brought to life with a stunning new video by Jaden D. 

Speaking about the new single and inspiration behind the video, songwriter and vocalist Maiah Wynne shared “I wrote about wanting to be better, to grow, and the sense of desperation that comes with that desire. To me, the song is about the struggle of not being able to break bad cycles. I had been stuck for a very long time and was trying to be better. I think it’s a theme a lot of people can connect with in some way. Whether it’s habits, addiction, self-sabotage, or just unhealthy patterns, we all are trapped by something we are trying to break away from. If I had the power to write my own story, I’d want to be the hero, but so often I am my own villain.”

Envy Of None announced their new album back in January and have so far shared 3 standout singles, ‘Not Dead Yet’, ‘Under The Stars’ and ‘Stygian Waves’. To promote the album, the band recently appeared on Talk Shop Live in the US with host Steve Harkins to discuss the creation of Stygian Wavz, the writing and recording process and plans for the future. Check it out here.

Stream/Download the new single here:

https://orcd.co/the_story

Though they’d never describe themselves as such, Envy Of None are the living, breathing definition of a supergroup. No other band on earth could rightly claim to have Alex Lifeson – one of rock’s most influential visionaries – heading up guitar duties, with Andy Curran of Coney Hatch and Soho 69 overseeing bass/programming as well as producer extraordinaire Alfio Annibalini on keyboards. However, the star in this band could very well be its youngest member – American singer-songwriter Maiah Wynne – whose wonderfully emotive vocals are able to spin the music in new exciting directions that thrill to the core. 

On their self-titled debut of 2022, the group were able to prove that they were a lot more than the sum of their parts, with an abundance of panache and finesse poured into a contemporary alt rock sound that was hard to predict and even harder to categorise. This year’s sophomore release, Stygian Wavz, is the sound of a band basking in the radiant glow of creative confidence and coming into their own, staggering the listener with every twist and turn encased within their heady mix of genre-splicing brilliance.

Envy Of None’s new album Stygian Wavz is set for release on 28th March 2025

Envy Of None – Stygian Wavz

1. Not Dead Yet [03:29] 

2. The Story [04:41] 

3. Under The Stars [04:32] 

4. Thrill Of The Chase [03:40] 

5. Handle With Care [04:14] 

6. That Was Then [03:46] 

7. Raindrops [03:33] 

8. New Trip [03:55] 

9. Clouds [04:02] 

10. The End [03:58] 

11. Stygian Waves [03:37]

Stygian Wavz will be released on a selection of formats including coloured vinyl, standard black vinyl, CD, Blu-ray, digitally and as a special deluxe edition boxset – 

Limited Edition Stygian Wavz Box Set
Includes CD and Blu-ray (with Dolby Atmos, 5.1 Surround & Hi-Res Stereo Mixes and 4 promo videos), plus Gatefold Green & Black Marble LP with individual band member prints. Also includes 12-page booklet featuring track-by-track notes from the band and exclusive photography. 

In addition to the green & black marble vinyl, contained within 5 randomly packed copies of the box set is a special, super exclusive pressing of the album on galvanised metallic blue vinyl.  Similar to a traditional commemorative silver or gold presentation disc, these have been made using a revolutionary new process which not only looks sensational but still plays and adds longevity to the pressing.  Outside of LPs for the individual band members, these are the only copies in existence and come packed in poly-lined inner sleeves signed by Alex, Maiah, Andy and Alf.

Stygian Wavz Pink Vinyl Edition: North America Exclusive
Stygian Wavz Blue Vinyl Edition: Kscope Store + Independent Retailers
Stygian Wavz ‘EON Purple’ Vinyl Edition: Envy Of None Store Exclusive

Stygian Wavz Black Vinyl LP Edition, mastered at half-speed

Stygian Wavz Digipak CD with 16-page booklet 

Pre-order all formats, released 28th March, 2025, here:

https://envyofnone.lnk.to/waves

GENTLE GIANT

‘Playing The Fool: The Complete Live Experience’ 2CD, 2CD+BluRay, Triple Vinyl To Be Released on 2nd May 2025

The brand new reimagined, remastered and remixed version of Gentle Giant`s classic 1977 live album ‘Playing The Fool: The Complete Live Experience’ is set to be released.

‘Playing The Fool: The Complete Live Experience’, will be released across several formats including double CD, triple vinyl, Blu-Ray and digital download. The album has been remastered and painstakingly remixed from the original source tapes by Dan Bornemark with the Blu Ray containing a stereo 96/24 bit mix, 5.1 surround sound and Dolby Atmos mixes. You can purchase the album here: 

https://gentlegiantuk.lnk.to/PTF

Containing new sleeve notes by Alan Kinsman together with a plethora of photographs along with a track list that reflects the original running order of the setlist played on the tour including three previously unreleased songs and the between song banter from Derek Shulman, this represents the most accurate account of Gentle Giant live at the very peak of their powers.

Check out trailer for the album here:

Derek Shulman: “Effectively what you’re hearing on this album is the whole show with all the bells and whistles included with me speaking to the audience and to the band just like it was on the night.”

‘Playing The Fool: The Complete Live Experience’

1.     Intro [1:24]

2.     Just the Same / Proclamation [10:40]

3.     On Reflection [7:31]

4.     Interview [7:06]

5.     The Runaway / Experience [9:54]

6.     Sweet Georgia Brown (Breakdown in Brussels) [1:54]

7.     So Sincere [10:42]

8.     Excerpts from Octopus [15:58]

9.     Band Introduction [1:23]

10.  Funny Ways [8:58]

11.  Timing / Violin Solo [11:40]

12.  Free Hand [8:20]

13.  Peel The Paint / I Lost My Head [8:01]

Derek Shulman: “This is a warts and all recording. It’s important to have a live album, which is live. There were no overdubs afterwards in the studio. So what you saw and heard is what you have on the album.”

ABOUT GENTLE GIANT

Gentle Giant was a British progressive rock band formed in 1970 in London by three brothers Derek, Ray and Phil Shulman along with Gary Green, Kerry Minnear and drummer Martin Smith who was latterly replaced by John “Pugwash” Weathers in 1972. 

The group was renowned for its complex and eclectic musical style, blending elements of rock, jazz, classical, folk and medieval music.  The band played a diverse array of instruments between them and their intricate arrangements and exquisite vocal harmonies gave them their own unique, instantly identifiable sound.

Gentle Giant released a series of highly regarded albums including ‘Acquiring the Taste’ (1971), ‘In a Glass House’ (1973), and ‘The Power and the Glory’ (1974) across which they pushed their musical boundaries to the limit. Their live album ‘Playing The Fool’ (1977) remains a testament to their stunning live shows.

In 1980 Gentle Giant called it a day and have refused numerous calls to reform since then, perhaps this is why their reputation remains intact to this day.  Widescale chart success may have eluded them but their fiercely loyal fanbase followed them right through their career and beyond. Their legacy has remained undiminished within the Progressive Rock world being major influences on Porcupine Tree`s Steven Wilson, Neal Morse of Spock`s Beard, Michael Sadler of Saga and Opeth`s Mikael Akerfeldt, who cites ‘Acquiring The Taste’ as one of his favourite albums.

Derek Shulman: “We were a rock and roll band that played interesting music and we wanted to have fun for ourselves and have the audience go out with a smile on their faces.”

Nad Sylvan announces raw & personal new album ‘Monumentata’; launches first single That’s Not Me

Nad Sylvan, known as vocalist with legendary guitarist Steve Hackett, announces his vulnerable & personal new solo album ‘Monumentata’ for release on 20th June 2025 via InsideOutMusic. Sylvan’s music draws heavily from the golden age of progressive rock while blending in folk, classical, and modern rock influences, resulting in a sound that feels both classic and contemporary. This collection of 8 tracks continues bridging those styles while sprinkling in a few more, from the jazzy-pop feel of “Flowerland” to the 60’s R&B influenced “Monte Carlo Priceless,” to the aggressive rock flavour of “That’s Not Me.”   

It is the latter track that is launched today, and you can watch the video for “That’s Not Me” here: 

Nad comments of the track: “It’s a very heavy, aggressive song with a strong funk influence—kind of like James Brown meets Deep Purple. It’s got a groovy feel, and I absolutely love it because it represents the heavier side of my music. The song explores the challenges of adapting to another culture while traveling the world.”

Much of the album comes from Sylvan’s life experiences. “This album is much more vulnerable. I’d say about 75% of the lyrics are directly about my life—it’s me laying everything out there, wearing my heart on my sleeve.”

The title track signifies an important moment in the singer’s life when he lost his father, leaving him without both parents. Sylvan explains, “I lost my parents, and knowing that they’re gone—and that one day, I’m probably next in line—that felt “monumental” to me. That’s where the word ‘Monumentata’ came from. “Tata” means “Father” in Hungarian, and my dad was half Hungarian. So, I combined those two words to create something new. It’s about losing someone and the disappointment.”

While Sylvan handles vocals, keyboards and most of the guitar parts, the album features a number of notable guest appearances, including guitarists Randy McStine, David Kollar, and Neil Whitford. The drummers on the record include Marco Minnemann, Mirko DeMaio, and Felix Lerhmann. On bass, the singer is helped out by fellow Hackett band member Jonas Reingold, Nick Beggs, and Tony Levin. 

‘Monumentata’ will be available as a Ltd CD Digipak (incl. bonus track), Gatefold transparent green LP & as Digital Album. Artwork was handled by Hajo Müller (Steven Wilson).

Pre-order now here:

https://nadsylvanmusic.lnk.to/Monumentata-Album

The full tracklisting is as follows:

1.     Secret Lover

2.     That’s Not Me

3.     Monte Carlo Priceless

4.     Flowerland

5.     Wildfire

6.     Make Somebody Proud

7.     I’m Stepping Out

8.     Monumentata

9.     Unkillable (Bonus Track)

Artist image by Diana Seifert.

Review – Gustaf Ljunggren & Emil De Waal – Mikroklima

Following the success of their 2023 release ‘Stockholm København’, two of Denmark’s most celebrated musicians in multi-instrumentalist Gustaf Ljunggren and drummer Emil de Waal present their fourth collaborative album.

Expanding on their growing reputation for crafting songs and sounds with masterful senses of subtlety, narrative and capacity to form meaningful connections with their collaborators and audiences alike, ‘Mikroklima’ was released on February 7th on April Records.

One element that truly sets this album apart, is the bold move of inviting a group of 12 year old school children from a music class into the studio to record alongside Gustaf and Emil. Drawing from years of experience leading music workshops with young musicians, on ‘Mikroklima’ Ljunggren and de Waal wanted to capture the sound of musicians from different generations and experiences coming together to contribute their ideas to their compositions.

I was a big fan of ‘Stockholm København’ so, now my music mojo is finally returning, I had to listen to this new release and ‘Mikroklima’ didn’t let me down. These two incredible musicians have created something organic that truly flows from track to track. Ljunggren’s elegant acoustic and electric guitar playing blends with de Waal’s sophisticated grooves creating something almost organic in nature. These two have an almost symbiotic relationship and are utterly complimentary to each other. The lush swathes of synthesisers and Rhodes piano add a spiritual feel to the proceedings and the whole album has an ethereal atmosphere.

These tracks are not just written, they are subtly crafted and created to have soul and to connect with the listener in a meaningful fashion. Listening to these amazing musicians at the height of their creative power is something quite wondrous to behold and an utter privilege. Through the mesmerising title track Mikroklima and the more strident Bolde all the way to the final two musical gems, Waaltz and Meeen, Ljunggren and de Waal take you on a mesmerising and hynoptic musical journey that sometimes challenges you but is always nothing less than captivating, enthralling and spellbinding.

It’s hard to pick one track out as a favourite as the album should really be consumed in one sitting for the full, glorious listening experience but Brud is consummate style and panache personified and as cool a jazz track as they come.

Restrained and yet bursting with spirituality and, most of all, life, ‘Mikroklima’ is more than just a collection of songs, it is a living entity that exists to bring joy to all who listen to it.

Released 7th February, 2025.

Order from bandcamp here:

https://gustafljunggrenemildewaal.bandcamp.com/album/mikroklima

Review – Nicholas de Renty – Retour Au Bercail – by John Wenlock-Smith

Progressive music certainly has the ability to throw you some strange or odd musical curves, take this album from French solo musician Nicholas de Renty entitled ‘Retour Au Bercail’ which translates as meaning ‘Return to The Fold’ .

Nicholas performs the majority of the instruments apart from on the track Traquenard where he is joined by Anthony Malaussena who adds guitar and bass to the track, Nicholas playing drums, piano and the vocals, which are all sung in French. A lot of the other instruments are delivered via the computer, the brass and woodwind elements for example that enliven proceedings. This release is best heard in one setting, i feel, as you can then appreciate the intricacies that are built into the music especially in the title track Retour Au Bercail which has excellent brass and woodwind sections.

The album is basically the story of Nicholas’ return to the faith he grew up in but deserted in his youth. He now feels the need to address the spiritual emptiness he has been experiencing and sees a return as being in his best interests. This is bold for such a step to be considered and then taken and ultimately to be chronicled in the music he has made.

I had a translation of the lyrics so I could follow his journey, there is an understated beauty to this musician in his openness to embracing faith once again, which is to be applauded. This album will probably be passed over by many which is a shame as it is really rather good and interesting musically. I would say the singing is a little different and unusual but it is not unpleasant being strongly choral in style. I understand this might be off putting for many but I would urge you to persevere with it as it does become rather calming with a distinct spiritual tone and flavour to it.

I especially liked the opening track Luerre éternel (eternal war) which has a drum solo at both the opening section and at the 5.55 mark where Nicholas vocalises over the beat before a rippling piano and subdued brass are heard. Nicholas then really pounds the skins a for few minutes, oddly enough the dynamics of this work exceptionally well, giving the track a  really strong dynamism and emphasis. The lyrics are actually more prose, being almost poetic in nature and tone, the choir like chanting is a good fit for the track which is about how we are all in a spiritual war with the forces of evil (Satan and his demonic hordes).

As I say it is an intriguing and deep concept. One with it’s spiritual overtones and concept could, I accept, be problematic for some listeners and the album is maybe not an easy listen per se. However, many a great album is equally as challenging yet critically applauded like ‘Red’ by King Crimson, which is an equally dark and intense piece of work.

I have to say that the more I listen to this album the more I have come to appreciate it’s difference, which I feel is rare in a genre where little has changed since the founding fathers’ original masterpieces were released. This album at least dares to be different in many ways and that alone is worthy of recognition. As such, I would recommend that folks with an open mind would have a listen at least as there is some great music on display here,

Definitely one for the more adventurous listener to at least have a go with, although I would say it would be more appealing if the booklet had the words translated into English so then non-French speakers couldn’t least be more understanding of the contents of the words.

This has not been an easy review as it has required the input of Anne-Claire from Bad Dog Promotions to help with the translation, which then allowed insight into the themes behind the tracks, for which I must recognise her invaluable assistance. aAs it is but I urge perseverance with this most interesting release which I actually really enjoyed, hopefully others will too.

Released 27th August, 2024.

Order from bandcamp here:

https://nicolasderenty.bandcamp.com/album/retour-au-bercail

Cosmograf announce release of tenth album, The Orphan Epoch, On 23rd May, 2025

Gravity Dream Music is thrilled to announce the release of the tenth Cosmograf al- bum – The Orphan Epoch on 23rd May 2025.

The Orphan Epoch is a set of songs that speak of a refusal to conform, align, or coa- lesce. It’s an expression of discontent, a statement of our times, but maybe also an instruction to refuse to accept binary choice and choose a path to walk alone. This is a new era of disconnection, disillusion and disinformation. Your perception will de- fine your reality…

“It was an easy album to make, in writing terms. I can’t even tell you where the songs came from, but they just arrived and seemed to want to tell a story them- selves.”, says Cosmograf’s Robin Armstrong. “Instead of setting out to write anoth- er concept album I wanted these songs to exist in their own space and time. This was the result…” I think it’s my most diverse work to date”.

We are also pleased to release the lead track and video for ‘Kings and Lords’ on YouTube now.

“The video was created from an old Italian Western film ‘‘Se incontri Sartana Prega Per La Tua Morte’ which is now in the public domain. My son, Sam is a media studies student and huge fan of film and we found it mirrored the song’s themes of greed, power and nefarious intent, so he re-edited it to fit the music.”


The Orphan Epoch will be available in Vinyl, CD Digipak and Digital formats and is pre-ordering now from the Gravity Dream Music website at:

https://www.gravitydream.co.uk/shop

Tracklist:

1. Division Warning [Track / 2. We Are The Young / 3. Seraphim Reels 4. Kings And Lords / 5. You Didn’t See The Thief / 6.Empty Box
7. The Road Of Endless Miles

Featured Musicians:

Robin Armstrong: Vocals, Guitars, Keyboards, Bass Kyle Fenton: Drums, Backing Vocals
Peter Jones: Saxophone (Seraphim Reels)