Here Mike Sherman gives a quick precis of Quiet Americans, the first single from the new Shearwater album, ‘Jet Plane and Oxbow’.
This first glimpse of original Shearwater for 3 years (save for the tuneful but unspectacular A Wake For The Minotaur from ‘Fellow Travellers’) is not before time. Shearwater have been established as a force to be reckoned with – able to pull off intelligent, considered and reflective yet also catchy and accessible folk-rock with tinges of something more progressive.
However, after building up some serious positive momentum, in 2013 they then took the baffling decision to tail off into the murky world of the cover version. ‘Fellow Travellers’ was by no means a poor album, and indeed, will have gained the band some new… ahem… fellow travellers, but a band so capable of songwriting as interesting and inspired as they are, should surely have enough good ideas to at least have a go at an original LP every couple of years?
The band’s career peak to-date of ‘The Golden Archipelago’ still strikes me to this day as one of the most shimmeringly beautiful and consistent albums of the last decade, possessing that most wonderful quality of being very much a stronger overall album than the sum of its parts. Its follow-up, ‘Animal Life’, conversely possessed some strong moments, but lacked a cohesiveness to drive it through to the overall heights of its predecessor.
What, then, might the next effort present to us?
Quiet Americans sparkles with typical Shearwater delicately-delivered production, all the mod cons in evidence complete with bleeps and 80s-style keyboard stabs. Yet, the beautiful beating heart and characteristic melodies of a very pleasant folk tune underpin everything. It excites enough to think that it will tie together well within an album setting.
At 3 mins 33 seconds, it’s a fairly typical track-length for Shearwater, and the band tends to sway towards the use of snappier, ephemeral pieces. That said, the thorough and detail-orientated production, and use of an early-arriving chorus line still gives the impression that the album may well boast some progressive sensibilities, such as those deployed midway through ‘Animal Life’ on the stand-out track from that album, Insolence.
A promising glimpse of what is to come in early 2016 on the new album, ‘Jet Plane and Oxbow’.
‘Jet Plane and Oxbow’ will be released through Sub-Pop records on 22nd January 2016.
In a great exclusive for Progradar, the eclectic Dutch band Fractal Mirror are due to release their third album ‘Slow Burn 1’ in February 2016 and I was extremely lucky enough to catch up with band member Leo Koperdraat this morning and find out more details about this highly anticipated release.
Leo, Ed van Haagen and Frank L. Urbaniak have released two previous albums, 2013’s ‘Strange Attractors’ and last year’s ‘Garden of Ghosts’, of which I said:
“Not just an album of songs but a journey into a world of profound understanding, ‘Garden of Ghosts’ is not for the fickle of heart or soul. It requires commitment and intelligence to fully benefit from its deeper connotations, once smitten though, you will never want to leave. Fractal Mirror are currently working on their third album and I, for one, cannot wait.“
Fast forward nearly twelve months and the band are about to release ‘Slow Burn 1’, what’s the main differences between the two records?
Leo Koperdraat: “The songs are shorter and to the point but we paid a lot of attention to vocal arrangements this time. The Progressive Rock influences are still very much in place (Patrick Farrell of Built 4 the Future even plays Rickenbacker bass on one song and Leo Blu Sky really shines with his bass on the Beatles meets Tears For Fears 8 minute closing track), but we do hope that ‘Slow Burn 1’ will also offer new things to the listeners.”
The band could also be looking at a Crowd Funding option to finalise the album.
I was also lucky enough to listen to one of the new tracks from the album called Numbers and it showcased the evolution of the shorter tracks with great vocal arrangements, add in some rather intense guitar work on show and it all augurs well for the new album.
‘Slow Burn 1’ features Brett Kull (Echolyn) again on every track and there are guest appearances (so far) from; Don Fast (guitars), Charlotte Koperdraat (backing vocals), Patrick Farrell and Kenny Bissett Sr (from B4tF on BV and bass), Jason Himmelberger (from Jhimm on BV), Peter Swart (guitars) and Leopold Blu Sky (From Unto Us/Mike Kershaw on Bass).
Larry Fast will be mastering again. The expected release date is February 2016.
The striking artwork is provided, once again, by Brian Watson.
I was really impressed by the one track I heard and, if it is representative of what is to come, I am sure that Fractal Mirror will deliver another outstanding and immersive musical experience.
You have to be wary of repetition, it can become tedious and monotonous if there is no progression or marked difference between pieces of work, after all, familiarity is supposed to breed contempt, isn’t it?
One of the most intriguing artists I have had the pleasure to listen to this year is the Geof Whitely Project. Actually a one man band, Arny Wheatley, there can be no more prolific artist operating today as he releases new albums every couple of months.
There are obvious pros and cons to doing it this way and I was left slightly underwhelmed by the last release that I reviewed, ‘Circus of Horrors’, feeling that it was too similar to recent works. Now, ever one to take criticism on board, Arny has returned with ‘Between 2 Worlds’ and I shall give it the once over to see if he has rediscovered that creative spark.
The opening track Quest has that laid back style that is the Geof Whitely Project hallmark and retains the laconic vocal delivery. There does seems to be some added zest, a more intense delivery and a lot more of the ardent guitar work that gives extra lustre to the calm and collected keyboards. No need to go back to the drawing board, just minor alterations that add up to something more profound. Long Time Gone has a lighter note to it, a more refined introduction and a more moderate delivery that reminds me a bit of Fractal Mirror. It walks a tricky line and, thankfully, never strays into the mundane and bland, retaining a sunny disposition and platonic edge. The nicely judged percussion and keyboards take you on a gentle ride into Arny’s musical mind and it is a pleasant place, although there is a hint of melancholy hidden just below the surface.
That sugar coated tone runs throughout Never Really Know but always with a hint of caution. The clever lyrics betray a slightly darker side to the music and keep your attention focused on the story, the excellent instrumental break in the centre of the track is like a well knowing nod to the 80’s. I don’t know whether it is meant to, but I am left in mind of a snowy winter’s scene that could end in either happiness or sadness. The signature keyboard introduction opens Throwing Shadows, a song with a serious and slightly darker note as it strides purposefully into your psyche. The sweetness and light is replaced by something with an altogether sinister motive, this is the Geof Whitely Project showing there is a dark side to its Moon and I think it is a clever change of direction. The slightly understated yet heavy riff adds to the mysterious air that pervades and gives added dramatic effect and gravitas.
On Reflection begins in a very subdued manner, laid back and open-hearted. A wistful, almost nostalgic note enters into the vocals, perhaps mindful of things or people lost and never recovered. Thoughtful, reflective and with a heavy dose of regret, this track really works its way under your skin and touches your heart in a forlorn manner. A really nice song but one that just leaves you feeling a little bit sad. 80’s style keyboards open Everyday my Heart and it really does feel like you’ve been transported back over three decades to a time that you may have wished you’d forgotten. It’s really a quite hopeful track and lifts the slight melancholia that had persisted from the previous track. The songwriting on this latest album has really gone up a notch, leaving little nuggets for you to find.
The next song on the album is the longest track, Compendium weighs in at just over ten minutes and begins in quite an auspicious manner. There is a feeling of depth to the song, a deep seated sense of contemplation. There is a decision to make, a life changing scenario and the deliberate and contemplative atmosphere is transferred across perfectly by the music. A comprehensive and profound musical workout for your brain that makes you think, one of the best songs I have ever heard from the Geof Whitely Project. The change from the quiet and sombre to the excellent guitar solo is brilliant and really knocks you for six, the guitar playing is quite exemplary. Title track Between 2 Worlds leaves you deep in thought with its absorbing tone, seemingly musing on life the Universe and everything. Profound lyrics and an attentive melody leave you in a speculative mood. I really enjoyed the thoughtful feel that it engendered as it left me ruminating on my whole existence, another track that seemingly has some left-field influence.
The final track on the album is Living Your Life and it has an edgy note running through it from the beginning. A quicker paced riff gives you a feel of life lived in the fast lane but with a note of caution. No-nonsense and earnest with yet more layers of 80’s keyboards, it leaves more questions than answers and brings the album to a close on a meditative and reflective note.
‘Between 2 Worlds’ is a complex and extremely interesting musical journey that showcases where the Geof Whitely Project is going musically. The last album left me feeling ever so slightly short-changed but, with this new release, my faith has been completely restored.
With his first review for Progradar, here’s Mike Sherman…
This review is, in part, an homage to the many mixed playlists available on music streaming services, as this is how I discovered this band and this album. I’ll kick things off by saying that it’s one of my favourite LPs of 2015…..
I love discovering a band who are far beyond basic composition, performance and production competencies, yet still maintain a humble presence within the information stratosphere. “Where are Klone from?” I hear you cry. “They’re from Poitiers in France!” I answer…
…and then we get on with talking about the music.
The musical stylings of Klone are ‘a bit of a lot of things, all at once’. There’s some ambience; there’s some melody; some heaviness (dare I use the word “grunge”?!?) and – thank goodness – some tinges of prog. Mix these together, usually at the same time, and we’re not far off.
‘Here Comes The Sun’ harnesses the smooth mid-range vocals of Yann Ligner to create some beautiful pieces, and now 5 LPs and 2 Eps deep into their career, Klone have become a tight band who express themselves as a collective first and foremost. This is important for me, as I infinitely prefer a strong band dynamic to one or two show-offs backed by competent “others”. There is great collective creativity in the composition; the performance, and – as I will repeatedly mention below – the production is nothing short of oh so lovely to these ears.
So, in short, I bet they listen to a lot of Gojira, Tool, Anathema and PorcupineTree. Not much like the Beatles, despite the obvious reference in the album’s name.
The opening track Immersion brings us instant soulful melody with heaps of ambience, in the form of the kind of reverb-heavy multi-tracked lead guitars typically found in post-rock. After the intro, we’re back to the strong opening melody revisited, only this time with a tactful and pleasing use of “welcome, we are the band” drums and heavier guitar. There’s an element of “shoegazing classic” about this track, in that it has a strong melody throughout which is textured nicely with a good balance of the heavy and the ambient. This is all produced to create a finely-balanced sound that doesn’t overpower at any point, nor does it drift away into indulgent territory in its restrained 5 minutes 10 seconds length. Later riffs complement the earlier shenanigans well, and the band sound very much together in completing an interesting and dark-ambient sound. The more subtle brief saxophone burst and vocal textures are allowed to add nuance rather than to take the overall direction away from what is a solid opening track that suggests a lot of promise for the rest of the album.
Next we come to the track that presented me with my first leading impression via the medium of playlist, then. Fog is one of the more progressive numbers, and it invited me in on first listen with its relaxed and smooth 7/8 verses and melodic-but-gently-powerful chorus and slightly heavier second half which hosts some serious groove and the first bit of noticeable drumming flair. Again, there is good cohesiveness to the band, with all parties combining to make a strong whole, rather than any domination of a particular instrument. It’s becoming all really rather pleasant and it’s going to get even better.
Gone Up In Flames is a catchy, almost dance-worthy (?!?!?) alternative-radio-friendly number that grabbed me from the start. Based around four chords, the rhythm guitar can be played alongside with minimum effort by those able to, and should be played in dropped-D like any self-respecting 90s grungehead would. A few nice bits of drumming thrown into the straight-4/4 mix; a solid turn of events for the bridge, and a great half-time groove in the coda. Great stuff.
The Drifter sounds very progressive, more in the vein of Fog than anything else on the album. It’s a bit of a workout for the band in terms of time signatures and textures. The rhythm section really shines, and prog fans will be happy to hear that despite some 4/4, there are plenty of other meters intermittently featured, all very smoothly connected with no jarring whatsoever. It also features two of my favourite things – vocal lines that last just that bit longer than they should probably be allowed to, and lingering guitar lines that won’t quit easily. The production is again very well-executed, and the whole thing flows very well to help what could have been one of the more challenging tracks on the album to sound relaxed and very enjoyable.
The Drifter is perfectly placed in the track order to open the way for Nebulous, which is undoubtedly the (best French accent) pièce de résistance of the album. Melancholy, moody melody with active but tactful drumming and ambient post-rock guitar stylings leading to a powerful and beautiful chorus with a titanic guitar sound that is, once again, very well-controlled in the mix so as not to overshadow the more subtle elements of the sound and the angelic vocal line. Again,there is a smoothness to Klone’s work, and the 7/8 of Nebulous fits it like a glove – no pretentiousness here, it’s just a very strong ambient rock song that completes an utterly superb run of five tracks. I’d argue that this track could probably have made an excellent album-closer.
Pic by Trash Bonbeck
Gleaming acts as a break, and to me represents where the fork in the road lay for Klone as they decided where to take the magnificence and consistency of the first five tracks and round things out. It doesn’t add a lot, but complements what went before, and acts as a distinct half-time break, as such.
The final three tracks take things in a slightly different direction, and one that I was unsure on for quite a while. Indeed, they represent the main reason I was hesitant to review the album until I’d had a good number of listens through the album. I’ve gotten used to it, but it still seems the weaker half of the album by far. The first thing that’s noticeable is that Grim Dance and album-closer The Last Experience have a slower 4/4 groove that gives the impression of something darker in atmosphere than the rest of the album.
Penultimate track Come Undone is probably my favourite of the three, and possesses an excellent intro and a livelier 6/8 swing. The Last Experience develops an increasingly tense atmosphere and ends with satisfyingly heavy riffs that punctuate that, despite this definitely being a “prog-rock” album, this band are also definitely metalheads. The repeating heavy guitar lines and descends with an almighty mess, which I like the symbolism of as it signals that the production team can now take a well-earned rest!
There’s a part of me that feels the first five (possibly six) tracks could have made a world-class EP or short LP, but the final three tracks have grown on me more with each listen, to the extent that my initial reservations have been largely quietened. It’s definitely an album split in two – that much is evident. However, the more I listen the more I find it all has its place.
I’m an album kinda guy first and foremost, but good on playlists for leading me to this discovery. Highly recommended – I hope you enjoy it as much as I do.
A Financial Adviser by day, a board game enthusiast and musician/composer by night. I grew up listening to a combination of Dire Straits and Steeleye Span while playing classical piano since the age of 5. After the “rebellious” stage of life as a grunge/metalhead I’m very much into a heady cocktail of prog-rock, folk and classical these days.
A unique project from Stefano Agnini (La Coscienza Di Zeno) and FabioZuffanti (Finisterre, La Maschera Di Cera and others). This is a beautifully composed and produced, melodic, diverse and eclectic piece of art that consists of 3 tracks clocking in at 8:26, 17:14 & 26:24 and is as epic as you might expect. I consider it a masterpiece that I would urge any open minded prog fan to explore.
I can compare this record to Steven Wilson – ‘Hand Cannot Erase’ as both have had such a strong emotional connection with me this year that almost immediately I have become more than a little consumed by them.
A heady mix of what is great about progressive music, this album is driven by analog keyboards and Italian vocals (male and female), interwoven with ingredients from rock, symphonic, folk, classical, electronic and traditional Italian pop and, dare I say it, a little Italian ‘easy listening’ music.
This is progressive with a capital P, mad as a box of frogs one minute, dramatic yet serene the next. We have some great vocals including theatrical, but never operatic, delivery, short sections that are ‘shouty’ (sorry amateur writer here!) and at some points the sea nymphs turn up and the harpies join in – All a bit odd and eccentric at first listen. However, in the traditions of the very best music, all these disparate parts come together on each subsequent play through to form a magnificent listening experience.
For points of reference, and I don’t want to do a track by track review or to describe the album in too much detail not wishing to spoil the experience for any prospective listener, I am reminded of the following bands: Big Big Train, early IQ – Great analog keys and guitar solos, Quasar – melody, Montefeltro – Romantic Italian prog approach, The Snow Goose – The atmosphere, ACT – stylistically, not sound, and Vulgar Unicorn – The eclectic structures.
I don’t understand Italian enough (if at all) to do it any justice, and I have always considered music to have an ability to stir an emotional response regardless of lyrics; the voice is another ‘instrument’ after all.
For me ‘La Curva Di Lesmo’ is about passion, emotion and melody and it ticks all my boxes. Language provides mystery and atmosphere and I am a little frightened to understand the meaning further in case it lessens the experience.
This is a passion play that I recommend all to embrace and hope you love it as much as I do – A current and future classic album.
David Elliott is no relation to any other David Elliott, living or dead, and should not to be confused with any animals, journalists or other prog celebrities.
Having had his ears opened by Genesis when an impressionable youth, his musical journey has expanded to include modern jazz fusion and electronic music but especially progressive rock in all its forms. Favourite artists are Jadis, Pat Metheny, Steven Wilson, Nemo and many, many others that are yet to be discovered – The next one is often the best!
Ambition: Italian prog reviewer in residence.
Hobbies: Needle work, welding, cat herding and beetle battling.
Occupation: Health and Safety Manager (see the above nonsense!!)
Due to be released on 20th November 2015 by Bad Elephant Music, the new album from The Room – ‘Beyond The Gates Of Bedlam’ is reviewed by our own Emma Roebuck.
The first thing I have to own up to is that I like The Room and am promoting one of the forthcoming tour dates.
I came late to these guys and bought ‘Open Fire’ on a whim, I immediately regretted not buying it earlier.
On first play, ‘Beyond The Gates Of Bedlam’ is the natural successor to ‘Open Fire’ in content, style and the music. It has all the hallmarks of song structure, melody and lyrics that made me like them in the first place.
The prog credentials are still there, 5 tracks coming in at over 6 minutes and this allows the musical ability of the band to come through in spades and the rest are not lacking for being shorter.
It has a better feel and production as well as being far more confident a product than ‘Open Fire’, there is a definite ‘levelling up’ on this album.
Although not a concept album there is a theme to it. Life, love, and power, and how it affects people. Martin Wilson’s vocals add to the distinctive sound, filling the songs with passion in his delivery. The guitar work from Steve Anderson is rich and varied but not overpowering, his ability shining through on such tracks as Masquerade and the Hunter.
Andy Rowe (bass) and Chris York (drums) provide a really solid foundation throughout the whole album, giving this very varied release a consistency worthy of the songs. Steve Checkley’s keyboards fill the music with light and shade, combining well with Anderson’s guitar on The Book, a song about the manipulation of faith by the powers that be for their own ends.
Even the more or less straight rockers on the album like Splinter are complex enough for the average prog fan. The high point for me is Bedlam, a ‘Post-apocalyptic view of life and how the fabric of life can easily break down when law and order is no longer effective’. This track is going to be a classic, 20 minutes of pure prog condensed down into 5.
Looking at this as an overall product, if you like a well contrasted songs with melodic variety at the progressive of the music market then, this is the album for you, if you want metal, dissonance or Canterbury, this is not it. For fans and listeners of Frost*, Jump or their ilk, I reckon your money would not be wasted .
Released 20th November 2015 through Bad Elephant Music.
Pre-orders opening very soon, please keep an eye out for details.
“We are proud to announce that Mike Kershaw, well-respected British progressive rock musician, has joined our family of artists.
Blending strong textures with powerful lyrics, Mike’s haunting music can perhaps best be described as ‘atmospheric progressive rock’ but ever the iconoclast he regards this as a framework rather than a prison, and very simply takes the music where it needs to go.
Mike continues to develop his own style, and his latest album ‘What Lies Beneath’ is his most complete work to date. To supplement Mike’s prodigious talent there is an impressive roster of guest artists – Gareth Cole, Stuart Nicholson (Galahad), Leo Koperdraat & Frank Urbaniak (Fractal Mirror), Joshua Leibowitz (Leibowitz), Stuart Stephens (Whitewater), Clare Stephens, Marco A VásquezL., and Tom Slatter. Leopold Blue-Sky (Unto Us) is at the mixing desk, as well as contributing bass, guitars and keyboards. Artwork is by Steven J. Catizone.
Mike Kershaw: “I am honoured and delighted to be joining Bad Elephant Music and its fabulous roster of musicians. I’ve worked with David Elliott on post-production with my last two releases and I’m over the moon to enhance our association. BEM is a unique, friendly label and I’m proud to be a part of it.
Bad Elephant Head of PR, Martin Hutchinson: “I’ve known Mike for quite a while now and have always been a fan of his richly rewarding music. Detailed and complex, it is a perfect fit with what BEM has become known for. Add in the fact he’s a fellow Yorkshireman and we can’t go wrong, can we?”
‘What Lies Beneath’ will be released through Bad Elephant Music in the second quarter of 2016. Check out the teaser video trailer below!
Providing the first live guest review is Aidan Campbell. Not a bad gig either, Riverside live at the Islington Assembly Hall…..
This will be the third time I have seen the Polish prog-rock band live and, for some reason, this will be the third time they are in playing in a venue in the North London borough of Islington. I saw them in 2013 and 2014 at the Academy but this time they are at the Assembly Hall, a venue just up the road and about 10 minute walk from Angel tube station.
The band come on stage around 9pm and launch straight into Lost, the opening song from their new album ‘Love, Fear and The Time Machine’.
Consisting of vocalist and bassist Mariusz Duda, keyboardist Michal Lapaj and founder members Piotr Grudziński on guitar and Piotr Kozieradzki on drums, the quartet are on fine form tonight. The undoubted star of the show, however is Michal, using a Korg Kronos for piano, he creates some wonderful, delicate passages on We Got Used to Us and some mighty Hammond organ on songs such as Hyperactive and The Depth of Self-Delusion.
It is when he gets onto the Sequential Circuits Prophet 5 that the real magic happens. The pulsating arpeggios adding a futuristic element to the Riverside sound, a song like the superb 9 minute Egoist Hedonist would sound totally different without Michal doing what he does with that synth.
Song wise the highlight for me, probably, is Escalator Shrine. Divided into 3 parts with a mid-tempo first section, a fast heavy second section, with some excellent Hammond organ playing from Michal (he is a fan of the late Jon Lord), and a slow mellow third section. As the 13 minute track finishes the crowd of 500 give it the biggest cheer of the evening.
Riverside only played 3 songs from the new album but that is not too much of an issue when you have so many great songs in their back catalogue and only 2 hours to play them!
The band end their set with Found, the closing song from the new album and a sister song to Lost, which, together, bookend a very fine album and one of my favourites of the year. They finished at 10:50pm after playing for just short of 2 hours, everyone going home happy after a great show. I even managed to make it back to King’s Cross in time for the 11:30 train back to Peterborough!
Gary Morley gives us his own inimitable take on IO Earth’s latest release ‘New World’.
This is the new age of ‘samizdat’ reviews. I get asked if I’m interested in writing a review, I express an interest, get “signed up” and bravely or foolishly agree to prise open, and expose, its core, rotten or golden as the case may be?
Martin “Wallet Emptier” H has suggested I review this album. It will be “blind” as I’ve not heard anything by them so it’s all new to me. Also, just to make it even more of a challenge, I have only mp3 files to go with. No album art, no track listing. No help!In the great spirit of British Olympic values, I won’t use Google, Wikipedia or any on line assistance. I’m going to listen to it and write as I go.
So after receiving the link, downloading the files and converting to a Jet Audio friendly format, we were ready to go…….
We start with rain? A storm blowing and a solitary female voice struggling against the storm. Haunting, operatic, pure, the voice gets stronger as the storm fades to be replaced with piano and then cello, a gentle lament concerning finding a new world.
The next track slams you awake, forces you ears to open as metal guitars crash through the pastoral construct of the opener. Big crunchy riffs counterpoint a sliding lead, undercut by a constant throbbing bass. Then the voice, this time riding on the strings above the riffing.
Buoyant, we are gathered onto a flying carpet, eastern classical orchestra and undulating voice. The mental picture I have now is one of us soaring above Desert Mountains, the storm battered hove left far behind as the guitar flurry lifts us higher.
There is a feeling of power here, restrained, muted even as the strings attack and a double bass drum flourish indicates that we have arrived at the fortress , our destination revealed through the clouds. In the space between the instruments, the voice reappears, chanting now, with a massed choir of Gregorian style voices unfurling, allowing more guitars to clear the way for the voice, now full bore and strident. Eastern images pervade as an oboe (or is it a synth?) takes on the voice, echoing and reflecting it.
Then it all stops… silence then acoustic guitar and piano with layered sound behind them. Sound effects under the mix lead us to a gentle keyboard melody over a drum pattern that is militaristic and menacing. Deep in the mix, TV voices refer to US events (9/11?).
I found the off kilter drumming disconcerting and the beauty of the string and vocal arrangement were bludgeoned by the percussion. The rhythm is almost that of drum and bass increasing in intensity then dropping. We are back with the female voice now, along with the piano and the big sound of a rock band and orchestra.
I’m not an expert in this genre, but it seems to verge onto the formulaic in places. Big drums, big sweeping orchestral arrangements and a female voice, I should like it but, it’s not quite clicked with me yet. The track has the feel of Iona or Nightwish, with a Celtic undercurrent to the arrangement and I prefer this to the full on Sturm und Drang of the previous track.
I’ve not said much about the lyrics, which are in English, but they flow over you with the musical tides. I’m sure that if (or when) I listen again the concepts and themes will manifest themselves, the album so far has been predominantly instrumental, the voice being, to my ears, another instrument.
Well, I’ve survived the journey so far, and now we are back in the semi-orchestral mountains, this time with percussion and cello working to generate an eerie aural scene. Then it’s all ripped apart by the guitar, drum and string attack that slams the door open and bursts in, we have a standoff, eerie vs. full on instrumentation. The power of the music is less constrained now, with the separate parts combining, and then…
Silence, close mike, guitar and piano, ethereal female voices ( plural) leading the orchestral army, one voice now buried in the mix, singing of things lost, longing and regret ( or I think so). We then have a variation in instrumentation with a saxophone bustling in, before it’s chased off by the guitar , fully charged and slicing through the mix a la mode de Gilmour.
This song, Fade to Grey has been the highpoint of the album so far, building to a high point of a recognisable chorus, which the vocalist lets rip on, no more restraint, a full throated exclamation of the title bringing it to an end that isn’t. That’s because it cross fades to the next track, all menacing minor chords and cello again, creating atmosphere and mood quickly. Tubular bells are there, before the arrival of big guitars and big drums.
A big riff that opens out into lush symphonic orchestration, that choir evangelic rising and falling along the rolling melody then a martial drumbeat takes the music, turns it around and up. We are in a big music place now, an entire orchestra thrumming with throttled back energy, waiting for the signal to charge. A horn section adds a further layer to the tapestry. It sounds ready to explode as the layers are added one by one, but we have a coda of guitar and synthesiser leading to the next level…
Chanting voices, bass chords echoing about as keyboards lead us into another epic piece… slow; solemnly they announce the arrival of the vocals. Again, hidden in the mix, the drum almost hiding them.
The choir returns, it’s very Carmina Burana now, with a build up to a pause and the return of the mournful saxophonist, playing over a montage of city sounds and prayers before regrouping for the epic chorus, “Insomnia” being the motif and refrain.
Duelling guitars spiral and twist as the song builds to an explosion of fretwork dexterity and frantic drumming. This is a big number. Every track is a big number… The guitar solo fades back to a soundscape, suggesting that the protagonist was in fact on a train and possibly dreaming.
We are now back with percussion and the voice warning of some impending event. Then guitars slice through the mix, flanged, leading the orchestra on to the eye of the storm , where we have a fine homage to Gilmour . The whole piece continues with a second, more “shredding” guitar and ends with a sound collage and a voiceover that does relate to the tragic events of September 11th.
A much more spacious sound now: less is more, just guitar(s), bass, drums and keyboards. We are out there in Camel land now, the orchestral score underpinning the melody rather than dragging it out and trampling all over it.
I must confess that his is more like it, melodic and flowing. The first “proper” proggy style piece or one I can relate to as it’s a mix of Alan Parsons, Pink Floyd and Camel styles, but put together beautifully. The Rising is it’s name and it’s my favourite so far.
That was then, this is now…
Day 2.
I decided that listening through my PC 5.1 speakers was possibly doing this album a disservice. So I (looks left and right) burnt the album to disc .Worry not, it’s a CD-R or 2, so I can erase upon request.
This act provided several discoveries:
1 The tracks I had listened to were in fact all of CD1 and part of CD2, for it is a double CD set!
2 They sound much more “whole” through the in house HiFi!
Anyway. As I had worked through CD 1 , scribbling away, I decided a different approach was needed for the second disc. So I sat down, and let it play.
Then played it again.
The harshness of the drums had gone. More instrumental details came to the front of the mix. New technology pah! The second disc seemed less angsty, more considered , with flashes of light and shade, a male voice appearing , driving track 6 on to a full on metal assault.
Maybe it was because I’d just listened to Ghost live at Reading and Leeds Festival, but there was a distinct BOC / Ghost vibe to this track. Without the orchestra , the band sound as if they were unshackled, free to rock it up, the sound painting was in full colour, and my ears appreciated the dynamics and harmonies of it.
Track 7 roles up, keen and eager like a puppy wanting to play. A variation on the sound, this is much more me. A simple drum pattern, a voice that reminds me of Love and Rockets or Kid Loco ( go check out them and you get a feel for where my head is at when happy ). There’s a lovely brass solo ( trumpet I believe) ,the restraint shown here is in marked contrast to the rest of the album. In fact this track could be a David Sylvian tribute as it has much of his jazz/ ambient pop feel to it.
If the rest was like this, I would have ordered a copy already.
The lead in to track 8 promises a climactic finish, with hushed voices behind a guitar motif and echoes of voice samples floating around it. A bit Floydian in the ambience, then a “Welcome to the New World” voice over and an explosion of sound… still the guitar motif , but on steroids..
The female voice struts in, welcoming us to this new world, which seems a brighter place as the menacing backing has been replaced by heavenly choirs and power chords…
The hooks have me, from disinterest to reappraisal, all in the space of 2 tracks. This is the beauty and magic of music. You listen, it washes over you, then a hook strikes…
I’m now going to listen to it from start to finish. I did, it’s a strange beast to be sure. The second half is much more to my liking, more varied and musically eclectic.
In conclusion, I didn’t know anything about the band, still have only heard this one album, but it is a rich and complex piece that slowly unfurls. It’s a throwback to albums of days gone by, where you sat there, reading along with the lyrics, fathoming out who plays what and where. This is not small town Prog / Metal, this is full on global rock music, deserving to be played loud .
The genre it fits into is a European one, that huge, semi –classical sound personified by Nightwish , who I am learning to like slowly, album by album . If you like them, are fond of a celestial voiced female fronted rock band , Touchstone or Panic Room for example, then you will be ready to give this shelf space and ear time.
Oh bugger, I’m going to have to buy a copy now aren’t I?
Yet another hardy soul has taken the responsibility of writing a review for you goodly folk, this time we welcome Shawn Dudley with the pen (or should we say keyboard?).
One recurring theme with my music purchases over the past 10 years has been a constant stream of bands from Sweden. The country has provided a surfeit of riches and one of the most valuable is the wonderfully eclectic and enthralling Beardfish.
Their 8th studio album ‘+4626-Comfortzone’ is another meticulously arranged addition to an already impressive string of releases.
After a short thematic introduction Hold On wastes no time demonstrating the many traits that drew me to Beardfish in the first place. The love of vintage instrumentation and production sounds, the knotty and complex arrangements that would make Gentle Giant proud, the occasional side trips into Zappa-esque absurdity, the uniquely personal songwriting of Rikard Sjöblom and, last but not least, their love of “the jam”. The joyous melding of progressive rock precision with the loose improvisational vibe of a late night jam session, they remind me of Nektar in this regard.
Thematically ‘Comfortzone’ is more dense and layered than the relatively straight-ahead approach of 2013’s ‘The Void’. Thus it’s not quite as immediate an experience and takes a few spins to really process. The narrative focuses on the apathy and complacency that can result from growing up in a small town, the feeling of being trapped yet not wanting to lose the comfort and security that familiarity provides. As someone that grew up in a small rural community of under 500 residents the subject matter of this album holds special relevance. A town populated by people watching the world pass by from their front porch…as if they were nailed there.
While lyrically the album can be a little bleak, the music never is. The playing is uniformly excellent and years of lineup stability has given them a rock solid cohesion. The mix is well balanced and uses a wide stereo spread, it’s a little compressed but not overtly.
Individual track highlights include the aforementioned Hold On, the lovely title track (some great Robert Fripp inspired guitar work in the intro on that one), the viking-rock riffage of King and the album centerpiece If We Must Part (A Love Story Continued). Special mention to the comic-relief provided by the hilarious Ode to A Rock ’N’ Roller, in a genre that primarily takes itself very seriously, the quirky humor of Beardfish is always a welcome change of pace.
While I’m thrilled that Rikard Sjöblom has been contributing to Big Big Train of late, I hope he still finds the time to continue the Beardfish journey. The only thing more exciting than a new Beardfish album…is the prospect of what the next one will be like.
