Tag: Progradar

OZRIC TENTACLES UNVEIL VISUALISER FOR TITLE TRACK  ‘LOTUS UNFOLDING’ 

ALBUM OUT OCTOBER 20th VIA KSCOPE

Having returned with their announcement of their new album previously, fans at long last can hear the first sample of what to expect on the up-coming Ozric Tentacles release ‘Lotus Unfolding’. 

Today the band have made available a beautiful visualiser that takes us inside the world of ‘Lotus Unfolding’. Created by Matthew Vickerstaff ( Facebook / Instagram ), the video brings the psychedelic album art to life as we’re transported into the wormhole of the magical realm of OzricTentacles sonic creations. 

Musically the track brings signature elements of the band’s sound to the forefront. Opening with the ethereal chimes and flutes as we’re slowly transported into the sonic oasis of Lotus Unfolding, we’re treated to beautiful acoustic passages before electronics open up for a cathartic guitar solo bringing the song to a musical crescendo before slowly returning back to the realms of consciousness as the song dissipates. Put simply, it’s a trip! 

The album was recorded, written and produced in their own Blue Bubble studio in Fife during 2022 – 2023 by Ed Wynne with a little sonic help from Silas. Mastered by Adam Goodlet and illustrated with some nicely detailed ethereal artwork by Steve McKeown and Sally Clark.

Ozric Tentacles’ aural synapses buzz throughout the album to channel the band’s limitless creativity, making Lotus Unfolding the perfect conduit of the spiritual and the physical. It’s an essential addition to the band’s catalogue.   

Lotus Unfolding is another sonically illustrated excursion through the musical realms the band have explored in their latest chapter. Album opener ‘Storm In A Teacup’ kicks the album off in spectacular style traversing the realms of time and space with flair and virtuosic poise. It’s followed by the groove driven ‘Deep Blue Shade’, whose melodies are vividly brought to life by trademark Ed Wynne exquisite guitar playing. This is swiftly accompanied by the serene title track – as close to a musical yoga session at the centre of the hippocampus you’ll ever experience. 

Lotus Unfolding line up consists of Ed Wynne (Guitars, Synth and Bass) and Silas Wynne (Modular Synth and Keyboards) . Alongside Ed and Silas is Brandi Wynne (bass), Saskia Maxwell (Flute), Tim Wallander (Drums) and Paul Hankin (Percussion). 

Lotus Unfolding will be available on CD Digipak, Limited Marble LP with limited die cut sleeve, Blue LP also with limited die cut sleeve, Black LP and available digitally.

Preorder HERE https://ozrictentacles.lnk.to/Lotus_Unfolding

Coming up shortly, Ozric Tentacles will be bringing their signature brand of tripped out instrumental Rock to the masses alongside label mates Gong in November for an extensive UK tour that will pick back up in March of 2024, suitably titled ‘The Last Blast Tour’. 

Pick up tickets here: https://ozrics.com/live-shows/

UK TOUR W/ GONG – NOVEMBER 2023

17th  November – Oxford, O2 Academy2

18th  November – London, O2 Forum with The Crazy World of Arthur Brown

19th  November – Manchester, O2 Ritz

20th  November – Sheffield, O2 Academy2

21st  November – Colchester, Arts Centre

23rd  November – Northampton, Roadmenders

24th  November – Bristol, O2 Academy

25th  November – Gloucester, Guildhall

26th  November – Birmingham, O2 Academy2

28th  November – Brighton, Chalk

29th  November – Norwich, Epic Studios

30th  November – Bournemouth, O2 Academy

1st  December – From, Cheese & Grain

2nd  December – Liverpool, O2 Academy

UK TOUR W/ GONG– MARCH 2024

7th March – Exeter, The Phoenix

8th March – Falmouth, Princess Pavilion

9th March – Lyme Regis, Marine Theatre

10th March – Cardiff, The Globe

11th March – Swansea, Patti Pavilion

13th March – Southampton, The 1865

14th March – Margate, Dreamland

15th March – Hull, The Welly

16th March – Nottingham, Rescue Rooms

17th March – Stockton-on-Tees, Georgian Theatre

18th March – Lincoln, Engine Shed

20th March – Leeds, Brudenell Social Club

21st March – Newcastle, University

22nd March – Glasgow, St. Luke’s

23rd March – Edinburgh, Summerhall

About Ozric Tentacles: 

One of the most influential bands to emerge from the UK’s festival scene, Ozric Tentacles formed during the solstice at Stonehenge Free Fesetival 1983, going on to become psychedelic staples at Glastonbury and other festivals. The creative vision of multi-instrumentalist Ed Wynne, the Ozrics’ uniquely trippy soundscapes connect fans of progressive rock, psychedelia and dance music culture. 

Review – Bruce Soord – Luminescence

Multi-instrumentalist, producer and The Pineapple Thief mastermind Bruce Soord’s new album ‘Luminescence’ was released September 22nd. This new album is his third solo offering. Inspired by the idea of finding inner peace, Soord’s latest solo release explores the difficulty of living in the metropolis of the modern world. Born from days exploring various cities whilst on tour, tracks from the album feature recordings from Soord’s various wanderings captured on his field recorder.

Recorded between January 2021 and June of 2023, the album was cut at Soord Studios with additional strings recorded at RAK Studio 3 in London, featuring arrangements from Andrew Skeet, long time member of The Divine Comedy and musical producer of the orchestration on many films/tv shows from Netflix’s smash hit Black Mirror to David Attenborough’s Green Planet and Dynasties II. 

You could draw parallels between Bruce Soord and Steven Wilson who, after many years building success with Porcupine Tree, segued into an equally successful solo career and has just released his latest solo offering, ‘The Harmony Codex’, to much acclaim. While being a fan of The Pineapple Thief, I do think that Soord’s solo output is every bit as good, if not as extensive, as Mr Wilson’s. However, with ‘Luminescence’, I do feel that Bruce Soord has created something more intimate and warm and one that, with its soul-searchingly sparse soundscapes, really resonates with me.

There’s Soord’s signature melancholy in the dark beauty of opener Dear Life, a poignant track sung from the perspective of an elderly parent, on their death bed, to their child. The elegant swathes of Andrew Skeet’s strings and the wistful guitar blend with Bruce’s heartfelt vocal to deliver something starkly elegant. The brevity of tracks like Lie Flat may appear uncomplicated but there are hidden meanings and nostalgic snapshots throughout. A more simplistic approach of stylish acoustic guitar and gentle electronica imbues a laid back, unhurried feel throughout while that inner peace is sought. One of my personal favourites is the glorious Olomouc where the ethereal strings work against the backdrop of that wonderful acoustic guitar to give a moment of pure clarity and the vocals’ nostalgic timbre just add to the stillness and calm.

There are moments of lucidity and purity brought by the stylish transience of songs like the lush So Simple and the delicate soundscape of Read to Me and a mental pause brought about by the iridescent shimmer of Never Ending Light where Bruce’s vocal is most definitely the focus, aided and abetted by the exquisite strings and classically played guitar. The pared back note of Day of All Days flowers into something altogether more seriousness with the unadorned guitar and more direct vocals and Nestle In explores the concept of the incessant speed of life causing humanity to not appreciate what is wrong in the world. Once again Andrew Skeet’s beautifully emotive strings accompany the minimalist yet emotive electronica bubbling in the foreground.

Instant Flash of Light adds a more urgent feel from the guitar and vocals to its Americana feeling sound, countered by the dazzling strings and sumptuous chorus to create yet another moment of sheer class. Rushing, with its faster pace and nimble electronica leaves you left in the middle of a crowded scene, a bar perhaps or even the concourse of a busy station. A wonderfully wistful and touching piece of music, Stranded Here is a study in thoughtful melancholy and one that left a lump in my throat and the album closes with the touching elegance of Find Peace.

There won’t be many albums created with as much love and affection as ‘Luminescence’. Bruce Soord has laid his soul bare and given us an intimate insight into the world he inhabits and, in exploring the difficulty of living in the metropolis of the modern world, Bruce has delivered an album of extraordinary songs and one that will stand the test of time.

Released 22nd September, 2023.

Order from ‘Luminescence’ here:

LUMINESCENCE – OUT NOW (lnk.to)

ANATHEMA’S DANIEL CARDOSO AND ULVER’S KRISTOFFER RYGG’S HEAD CONTROL SYSTEM ANNOUNCE REISSUE OF 2006 ALBUM ‘MURDER NATURE’

OUT NOVEMBER 17th VIA KSCOPE

Pre-order here: Murder Nature (lnk.to)

DOUBLE-DISC EDITION OF THE 2006 STUDIO DEBUT FROM ANATHEMA’S DANIEL CARDOSO, AND ULVER’S KRISTOFFER RYGG. NOW REMASTERED, INCLUDING EXTRA DISC OF DEMOS AND INSTRUMENTALS, PLUS COMPREHENSIVE INTERVIEW

Recorded between Portugal and Norway in 2005–2006, and produced and mixed by Cardoso himself. Murder Nature was released to great critical acclaim, and has gained the reputation of being a lost classic of sorts over the years, whilst the compositions themselves remained timeless and ageless, and often requested for a proper and extensive reissue.

This newly remastered double-disc edition of Murder Nature, now includes a special bonus disc of unreleased instrumental and demo material from the time period, along with a cover of Seal’s ‘80s hit “Kiss From a Rose”. The release also includes updated art and layout, and contains a booklet featuring a comprehensive interview delving into the beginnings, endings, and inner workings of the whole project, courtesy of writer Jonathan Rosenthal, (Invisible Oranges, Decibel, Brooklyn Vegan) plus additional words from members of other luminaries of the progressive metal scene, such as Periphery and Between the Buried and Me.Murder Nature stands as a pinnacle of forward-thinking metal from the 2000s, for fans of Tool, A Perfect Circle, Queens of the Stone Age, and Faith No More.

“Murder Nature was a pretty bold album, especially if you put it into the context of when it was made, and how. Looking back, I’m still surprised that we pulled it off, but I’m glad we did ’cause it pretty much paved the way to my long-lasting career as a musician and producer.” – says Daniel Cardoso. 

Murder Nature will be available as a double CD and single LP. 

MURDER NATURE Track list: 

1.     Baby Blue [06:34]

2.     Skin Flick [04:23] 

3.     Masterpiece [Of Art] [03:34] 

4.     Blunt Instrumental [03:49]

5.     It Hurts [04:00]

6.     Watergate [03:40]

7.     Seven [04:00]

8.     Kill Me [02:07]

9.     Wonderworld [03;38]

10.   Rapid Eye Movement [04:48] 

11.   Falling On Sleep [04:46]

12.   Kiss From a Rose [04:18] 

DISC 2 (CD ONLY) 

1.     Baby Blue (Instrumental) [05:18]

2.     Skin Flick (instrumental) [04:26]

3.     Masterpiece [Of Art] (instrumental) [03:38]

4.     Watergate (instrumental) [03:43] 

5.     Seven (instrumental) [04:03]

6.     Wonderworld (instrumental) [04:40]

7.     Rapid Eye Movement (instrumental) [04:47] 

8.     eM lliK (Kill Me reverse) [02:07]

9.     Baby Blue (Unreleased Demo) [05:18]

10.   Skin Flick (Unreleased Demo) [04:24]

Masterpiece [Of Art] (Unreleased Demo) [03:38

Head Control System was a venture set out by multi-instrumentalist extraordinaire Daniel Cardoso (Anathema / Sirius), originally under the moniker of SinDRomE, which developed into a dynamic and what could also be considered a somewhat trailblazing style of alternative metallic rock with prog textures. The missing piece of the puzzle was completed when Daniel was joined by Kristoffer Rygg of long-standing Norwegian experimental – and erstwhile black metal – legends Ulver. Together with Kristoffer’s unmistakable vocal delivery and Daniel’s finely-honed instrumentation, an intricately woven opus of seduction and darkness with abstract existential musings was created in Murder Nature, the band’s only studio album to date. It was originally released back in 2006 through Voices Music & Entertainment (EU) and The End Records (US).

Review – Galahad – The Long Goodbye

“Music, when soft voices die, vibrates in the memory.” — Percy Bysshe Shelley.

Music is essential and life would not be complete without it, where words fail, music can always express what we are feeling and Galahad have always had that uncanny knack of resonating with me on a sub conscious level. This long revered band have a new album in the offing and I was extremely honoured to have a very early listen and plenty of time to gather my thoughts before writing this review but, first, a short bit of PR…

This latest opus, Galahad’s twelfth studio album, was recorded before, during and after the recent Covid emergency, and, as was the case with the previous album ‘The Last Great Adventurer’, was recorded at several locations over the last couple of years by the various band members and was finally edited, mixed and mastered, as usual, by our engineer/producer supreme Karl Groom.

The album features the same line-up as TLGA of Stu Nicholson (vocals), Dean Baker (keyboards), Spencer Luckman (drums), Lee Abraham (guitars) and Mark Spencer (bass guitar).

As usual, a variety of topics are considered and written about on this album, some very personal, including the title track in which the ageing process and the difficult and tricky subject of early onset dementia is tackled, hopefully with a certain amount of  poignancy.

Those familiar with ‘The Last Great Adventurer’ will feel that album’s vibe immediately on the classy opener Behind The Veil Of A Smile. An elegant intro of Lee’s guitar and Dean’s keys leads you on a willing journey into superb prog infused metal, it’s not dissimilar to Threshold but couldn’t have come from anyone but Galahad as it’s much more intricate and ‘proggy’. The song really takes off when you hear Stu’s distinctive vocals, especially on the ever so cool chorus. There’s a brilliant keyboard solo that put a huge grin on my face and the song ends with a short but extremely satisfying solo from Lee, the band have certainly picked up on where they’d finished on TLGA and their creative abilities are still firing on all cylinders! A techno/electronica hue (I never thought I’d write those words about a Galahad release!) is all over the intro to Everything’s Changed, a more subdued piece of music than the opening song but one that is still full of the band’s signature sincerity, especially on Stu’s elegant vocals. There’s a world weary atmosphere to this nostalgic feeling song, it’s full of a wistful, almost melancholy, sentiment for the ages, mainly imbued by Dean’s contemplative keyboards, and blossoms superbly on another bewitchingly catchy chorus. It’s another stylish piece of music and the almost orchestrated ending is a touch of genius. More echoing, dynamic keys dominate the extended opening to Shadow In The Corner before Lee’s punchy guitar enters the fray and adds some drive to the song. Stu’s slow burning vocals add a touch of mystery and suspense to the track before a flowering chorus adds a cinematic, widescreen effect to proceedings. There’s a lush feel to the keyboards and guitar riffs and Lee gets to shine on a superb, funky solo that really gets under your skin. Once again I have to applaud the musicianship, Galahad certainly brings the best out of Lee Abraham who is on extraordinary form on this album especially but everyone is at the top of their game and Stu’s vocals are as immense as ever.

Now to the elephant in the room, the utterly brilliant, but totally left-field, The Righteous And The Damned. This epic piece of music really shouldn’t work but it does and brilliantly! Imagine System Of A Down crossed with ‘Fiddler on the Roof’ and you won’t be far wrong. It is one of the best tracks I’ve heard this year but does need perseverance as it doesn’t click immediately. Stu said that,

“Oddly the intro melody for ‘Righteous’ came to me whilst we were in the Jewish quarter in Krakow a few years ago listening to the street musicians, it’s an incredibly atmospheric place. It will a marmite track for sure.”

The band have imbued that feel and atmosphere into an incredibly entertaining and engaging song that has touches of brilliance throughout. The violin is mischievous as hell, Lee’s riffs jump all over the place and, yet, it is still demonstratively a Galahad track. Stu sounds like he’s having the time of his life, Mark’s bass is funky and jazzy as you like and Spencer’s drums have never sounded as complex, it is just amazing and the band should be complimented on delivering a piece of music that could alienate some of their fans, although I would be very surprised if it did!

The final song on the album proper (we’ll come to the CD bonus tracks in a bit) is the glorious, heartfelt and emotional journey that is The Long Goodbye, It’s a wondrous musical journey that tackles the ageing process and the difficult and tricky subject of early onset dementia with pathos and the poignancy that the band intended and it’s one you never want to end. There’s a serious feel to the song as it breaks out from the thoughtful, almost mournful, introduction, Stu’s vocals delivered with calm gravitas and the music slightly subdued but still delivered with feeling. The softly delivered refrain of “I don’t know who I am, I can’t even remember my name, I don’t know what I’ve ever done, I don’t know where I’ve come from” brings home the seriousness of the subject matter in the most dignified of manners. This beautifully constructed piece of music will, at times, bring a lump to your throat and a tear to your eye but it’s the breathtaking final six minutes that take it to a whole other level as Lee delivers some gorgeous guitar, including a sublime soaring solo, and the stunning orchestration from Dean and Mark begins. Stu says he loves this part of the track and you can see why, it is utterly stunning and finishes the song and the album on the highest of high notes.

If you order the CD version then you will get two bonus tracks, Darker Days which harks back to the style of the first three tracks on the album, that high energy, dynamic sound with edgy guitars, pounding drums, forceful bass and compelling keyboards. Add in Stu’s charismatic vocals and another memorable chorus and it has everything you need. Open Water is another matter entirely, it’s a more sparse, sensitive and somewhat reflective track that has an almost ethereal quality with Stu’s laid back vocals, Lee’s exquisite guitar and the celestial piano and keys. Stu says it is probably the newest piece as it was written during lockdown and, to echo Stu’s sentiments, provides a relatively low key finish on the CD after all the bombast.

I chose ‘The Last Great Adventurer’ as my album of the year for 2022 and, in a fast paced world that never stands still, Galahad haven’t rested on their laurels. They have returned with ‘The Long Goodbye’, another wondrous musical journey that mesmerises and bewitches from beginning to end, and even surprises in places. Could this be another contender at the end of the year, I definitely don’t see why not!

Released 23rd October, 2023.

Pre-order direct from the band here:

Galahad – GALAHAD Merchandise (galahadonline.com)

Danish math-stadium rock group Isbjörg release new single ‘Inure’ on October 26th 2023

‘Inure’ is the fourth single from Isbjörg’s upcoming second full-length album which is expected to be released in the spring of 2024.

Along with the latest singles from 2023, ‘Inure’’ marks a new era for the band who, since the release of their debut album ‘Iridescent’ in 2019, have welcomed Jonathan Kjærulff Skovlund as their new front figure.

With its calm and atmospheric pace, ‘Inure’ showcases a more fragile and mellow side of Isbjörg. The song is a duet between lead singer Jonathan Kjærulff Skovlund and guest vocalist Margrethe Christine Wellejus and portrays a failing relationship that neither of them has thestrength to end. The conflict and the music escalates slowly and finally culminates in an epic climax in true Isbjörg fashion.

‘Inure’ is available on all major streaming services from Thursday the 26th of October 2023.

Presave here: Inure by Isbjörg – DistroKid

Isbjörg is a Danish math-stadium rock band centered around the piano.

The aim of the band has always been to surprise and break musical boundaries without compromising the songwriting. Odd time signatures and polyrhythms combined with catchy hooks and lush melodies captures the listener in an intense and captivating soundscape.

Following the release of two EP’s and singles, Isbjörg released their debut album ‘Iridescent’ in 2019. The album was very acclaimed by both fans and critics for its epic, piano-centered sound and the captivating songwriting.

After the release of ‘Iridescent’ Isbjörg have been touring around Denmark and played everything from small clubs to big festivals such as SmukFest in 2019. The last couple of years Isbjörg have worked intensively on writing their follow-up album. After the departure of singer Niklas Jespersen in early 2022, Isbjörg welcomed Jonathan Kjærulff Jensen (Lara Luna) as their new lead singer and are now standing stronger and more focused than ever with a lot of single releases in 2023 before releasing their second full-length album in early 2024.

Website: http://isbjorg.dk Linktree: https://linktr.ee/Isbjorg

Isbjörg is:
Jonathan Kjærulff Skovlund – Vocals, Mathias Bro Jørgensen – Piano, vocals, Dines Dahl Karlsen – Guitar, Lasse Gitz Thingholm – Guitar, Mathias Schouv Kjeldsen – Bass, Frederik Ølund Uglebjerg – Drums

Proud Peasant to Release New Album ‘Communion’ on 20th October, 2023

Cinematic progressive rock band Proud Peasant (Austin, TX, USA) will release their new album Communion on Basement Avatar Records on October 20, 2023. The album is the follow-up to their debut album, Flight, and the second part of the It Does Not Cease trilogy.

Proud Peasant have forged a reputation for combining classic and modern sounds together, drawing comparisons to Mike Oldfield, Gryphon, Wobbler, and King Crimson, while also incorporating elements of movie and video game soundtracks, metal, thrash, chamber music, avant-garde, Chinese classical music, and ragtime jazz to create a cinematic mix of sounds.

Proud Peasant’s debut album ‘Flight’ was called an “aptly titled escape into musical fancy that masterfully knots together British folk, cinematic symphonic rock, Elizabethan prog, Gentle Giant-ish vocal fugues and even videogame-score-like whimsy.” (Progression Magazine) The album achieved significant acclaim, ending 2014on several best-of lists, reaching #1 on Amazon’s Progressive Rock charts, and spending 11 weeks on the Gagliarchives Top 20 Progressive Rock Albums of the Week.

Their next release was with ‘Peasantsongs’, a collection of rare and unreleased tracks, including covers of classic tracks by Eloy and Manfred Mann’s Earth Band, which were featured on Stuart Maconie’s Freak Zone on BBC Radio.

The band returns with ‘Communion’, the follow-up to ‘Flight’, and the second part of the ‘It Does Not Cease’ trilogy. Engineered by Chico Jones and mastered by Sarah Register, ‘Communion’ continues the sonic and stylistic shifts from previous albums, but brings a heavier, more modern sensibility, and adds vocals to the mix. Featuring an eclectic mix of six songs, the album culminates in the final track, The Fall, a 19-minute epic exploration of genre, mood, and sound.

Communion will be released on CD, digital download, and all major streaming services on October 20, 2023.

Pre-orders open at bandcamp now:

Communion | Proud Peasant (bandcamp.com)

Review – Massimo Pieretti – A New Beginning – by John Wenlock-Smith

I was contacted on social media and invited to hear this album, released completely independently by Massimo himself as an outlet for his own music, but also seemingly as a kind of therapy for feelings and issues in his own past. This makes this rather gentle album all the more profound really as a journey into new adventures, ‘A New Beginning’ an apt title in that respect. Massimo is a music lecturer and teacher in Rome and he has played in various progressive groups in Italy, his own music is actually rather sensitive and beguiling, it certainly has excellent keyboards (unsurprisingly enough).

This short album is best heard in one continuous setting as it will take you on Massimo’s journey to contentment and completeness. It also makes political comments about Italian society along the way, in addition, it seems a lot of the songs are reflections on relationship issues that Massimo has experienced over the years. The music ranges in style from short vignettes to more pop based structures. Throughput the album there are some good keyboard tones and sounds employed to good effect. Out Of This World uses a sample taken from Charlie Chaplin’s 1940 film The Great Dictator to good effect to address the need for democracy in Italy after the era of Ille Duce (Mussolini)

In the information sheet that comes with the album Massimo gives some information that is pertinent to the album. He states “It is a largely autobiographical concept album, through which I tried to express my point of view on today’s society by taking a cue from my own personal problems and life experiences. Of the songs, the most autobiographical ones are Oh Father, Growing Old, Things To Live And To Die For and Family and Business. Other tracks like In November, Is That Girl Right? and Out of this World reflect my passion for cinema and film music. Finally the tracks A New Beginning parts A and B and I Hope You Will Always Be Here With Me are representative of my background in progressive music and my respect for others and environmental concerns. There is also an effort to present circularity in order to merge genres, my important academic studies and previous plays.”

Whether or not this succeeds on that score is possibly up to you, the listener, to decide but, in any respect, Massimo has crafted a deeply personal album with definite progressive elements and some fine keyboards in a very lush sounding recording. He has also started work on a second album that will utilise the talents of John Hackett, Nick Fletcher and Laura Piazzai, to name but three and I eagerly await that one too.

The album opens or commences with the brief but exciting synthesisers of Intro that gently swirl and create an atmosphere of warmth. Oh Father is a recollection of memories of Massimo’s father and the lessons he taught and showed about life and love. It seems the relationship was a difficult one, fraught with conflict but now, looking back with hindsight, Massimo understands his father’s interest was in shaping him. In November is a gentle song, although it has a good guitar line played throughout which sounds exquisite really, as does the the intro and opening section of Growing Old which reflects on ageing, the track is aided by a gorgeous fretless bass which definitely adds to the atmosphere created. Next is the song Is That Girl Right? which reflects on a relationship Massimo experienced, one that seemingly didn’t work out the way it was hoped or expected to.

Out Of This World is a political diatribe against inequality and division. This is followed by a jazzy Interlude with sax, piano and fretless bass that is short and segues into the next track, Things To Live And Die For, which sounds a little like an 80’s song but by whom eludes me at the moment. Family and Business has a harder edge provided by the excellent riff and Bowie-like vocal, it’s a proper rocker and one I really enjoyed. A New Beginning Parts A & B seems to be a call to treat each other with kindness, decency and dignity and also to care for our environment. I Hope You Will Always Be Here With Me is a plea for companionship on life’s journey, its better together than alone. The album proper ends with Intro Reprise which is, you guessed it, a reprise of the elegant opening tot he album and works really well to bring things to a close. The bonus tracks on this album are reworked, stripped down versions of the album tracks In November and Things To Live And Die For with a more spartan approach, This allows the beauty of the songs to shine through more clearly, although some might prefer the original, more layered, versions.

To be honest and fair whilst I have enjoyed this album, I don’t feel that it is one that I will reach for often, rather more one to listen to quietly later in the evening. For now though, there is plenty of thoughtfully considered musical performances on offer on this album. Massimo Pieretti I applaud this fine effort.

Released 1st September, 2022.

Order from bandcamp here:

A new beginning | Massimo Pieretti (bandcamp.com)

Review – John Lodge – Days of Future Passed – My Sojourn – by John Wnelock-Smith

The deaths of Ray Thomas in 2017 and Graeme Edge in 2021 were the final nail in the coffin (sorry) for the almost sixty year period of existence for the Moody Blues, an era which the band had seen many highs and lows. This period saw their early transition from humble beginnings as a R n’ B band in Birmingham, along with contemporaries like The Idle Race and the Spencer Davis Group, through to their reinvention and revitalisation with the addition of John Lodge and Justin Hayward, replacing Denny Laine and Clint Warwick. This led to a the string of successes including their debut album ‘Days Of Future Passed’ in 1967 and the legendary Nights In White Satin single that took the charts by storm, not just once but three times, in1967, 1972 and 1979! It was an album that introduced the world to a new sound, aided in part with the unveiling of brand new sounds with the Mellotron.

‘Days Of Future Passed – My Sojourn’, this new interpretation from John Lodge, will take you back to that time in 1967 when ‘Days Of Future Passed’ was initially released on the new progressive imprint of Decca Records, Deram, that was created in order to publicise the new Deramic sound from the label. This sound was actually a false stereo sound, until this time most music was released in mixed in mono, both for ease of mixing but also because the public tended to hear music from single speaker playback like the Dansette or transistor  radios. The Decca Panoramic Sound (later shortened to Deramic) was a huge step forward to the stereo sounds that emerged shortly afterwards and this album was the flagship release to unveil this new sound and ,with which, Decca hoped to sell their radiograph to the public.

It is possibly hard to conceive today just what a huge improvement in sound this system was. It was actually ground breaking and innovative and this album was able to reap the benefits of the system and, as such, was a major step in sound engineering, even now, nearly 60 years on, this is still astonishing. I often think that The Moody Blues did not receive the full respect and admiration that they were due, as without them their innovations prog as we know it would not have existed. Now, 56 years, on John has revisited this pivotal album and recreated it anew with a few tweaks and additions. To my ears, he has done an excellent reinterpretation of this seminal work.

John has utilised his 10,000 Light Years Band on this album, with particular mention to musical director Alan Hewitt who has done a wonderful job in the orchestrations the album utilises in such an enlivened manner, meaning it is not just a pale recreation, it is a really impressive piece of work. This new imagining really benefits from the time that has elapsed since the original album, as the technological advances in that time allow for a fuller sound, one in which every instrument has space to be heard clearly. I also really like that John was able to get Graeme Edge involved in the project, with his poetry on Morning Glory opening the album and, on Late Lament, drawing the album to a close.

The album is composed of seven parts across its 17 tracks, these range from very brief interludes to the longer tracks that round out the album and the album sounds really spacious. The record also has Jon Davison of Yes singing on Tuesday Afternoon and Nights In White Satin, alongside John himself. I was especially taken with the great bass sounds the album has and the excellent ensemble playing of the 10,000 Light Years Band, especially the guitar work of Alan Duffy and the keyboards of Alan Hewitt, who both shine throughout.

You tend to forget just what a huge step forward the original album was and the run of success that followed in its wake, as the run of albums that followed bridged the gap between the past and the present. The Moody Blues were at the forefront of progressive music at the time and were really pushing the envelope in terms of sound and craftsmanship.

It helps if you can hear the two versions together as you can hear the difference in sound immediately and can enjoy the journey the album takes you on. For me, the longer and rockier tracks like Tuesday Afternoon, Peak Hour and Nights In White Satin are the standouts, the guitar runs on Tuesday Afternoon are magical, light and dextrous, as are the two poetry/spoken words segments with Graeme Edge’s Brummie voice clearly present. This is the first time he had actually read his own poems on record, normally Mike Pinder had read them on the albums. This was Graeme’s last ever recording as he sadly died very soon after this, so, for this reason alone, it is good to hear him on this album,

The production is lush, crisp and clear and the album artwork is really warm and wonderfully crafted with the definite touch of Roger Dean, although this is not credited.

This is an album that will reach into your heart with its gentleness and beauty and will refresh your soul as its hidden depths are re-discovered. I urge you to hear this masterpiece as a balm for modern times, it is most highly recommended.

Released 22nd September, 2023.

Order from Burning Shed here:

John Lodge (burningshed.com)

Review – The Wood Demons – Angels Of Peckham Rye – by John Wenlock-Smith

I first came across this rather interesting and somewhat unusual sounding band very recently when they supported the Hats Off Gentlemen It’s Adequate chaps at their album launch for the splendid ‘Light Of Ancient Mistakes’ in that there London, my first time in “The Smoke” for several years, well March 2021 to be precise. I had not heard anything by The Wood Demons anywhere and, despite seeing their name in various gig promotions, I knew nothing about them,

Well, I saw and enjoyed their brief set, several songs from which appear on this great album. These includ the album’s title track Angels Of Peckham Rye, Arithmomania and All Heaven’s Breaking Loose, to name just three, although they might have also played The Odd Particle, come to think of it.

Their sound is rather different, mixing in styles of progressive rock, psychedelia,  folk and even ambient and classical touches. Their line up consists of Rick Startin (keys, guitar, vocals), John Silver (bass), Simon Carbery (lead vocals, guitar), Ed Kontargyris (drums) and they also have a secret weapon in the lush and enticing violin of Naomi Belshaw. The album is a very satisfying listen but, for me, it’s the elegant violin parts that add the icing to a very tasty cake. In places I was reminded of Caravan as Simon Carbery has a similar vocal style to Pye Hastings and several of the tracks are in a ‘Caravan’ type sound.

Opener Arithmomania certainly made my ears prick up with stylish arpeggio guitar and clever juxtaposition of lyrics and how we can count numbers to show the scope of the world and help us define it but also not just reducing it to a series of measurements. This song reveals a sense of wonder in our world and will hook you in as it is a terrific opening track and one that shows what The Wood Demons are all about. It distils their craft into one decent length track that is blessed with that sublime violin. I’m waxing lyrically as this track has rapidly become one of the best things I’ve heard in ages, believe me when I say that, in a year full of exciting and often excellent music, this one stands out and confirms just how good a track this really is, utterly compelling. The Odd Particle is a busy instrumental that allows John Silver’s classy bass to lead us on a merry saunter whilst Naomi struts her stuff with superb pizzicato playing and plucking and Simon lays down some great guitar tones. It’s a shorter piece, very atmospheric and almost cinematic wide-screen in sound and has the whole band blending together in a glorious melding to create a really worthy piece of music.

This is in turn followed by the equally as memorable Big Game Fishing, which is simply a gorgeous song with a gentle but very sweet acoustic guitar part and earnest yet warm vocals. This is very folk like and almost like a sea shanty in parts although when the mellotron kicks in with its lush sound, you can tell this is actually a rather more intricate track. There are great harmonies in this song too and some great understated and dexterous bass playing on offer from John. Of course Naomi’s lovely violin swoops and soars throughout making it all very splendid indeed. Starstruck is a very fine song too and one that works well, it’s harder sounding with the guitars very much to the fore here, they have a real crunch and bite to them. This song is chock full of chunky, chugging riffs and excellent dynamics and it also has a somewhat discordant guitar break, which works especially well with the sax of Michael Wilkins to make a really great sounding track. This is in part powered by more fine bass work before the song enters a more gentle section with keyboard effects and chiming guitar arpeggios and fingerpicking. It’s all very pastoral and in complete contrast to how the track began, unsurprisingly the momentum gathers pace again and the whole band sound urgent as they return to the harder sound once again. This is very impressive and dynamic and a fabulous track ends on sustained guitar riffs.

Angels Of Peckham Rye is inspired by the story of poet William Blake who, aged 8, saw visions of angels in an oak tree in Peckham Rye. Blake also wrote the classic Jerusalem, as made famous by Emerson, Lake and Palmer on their ‘Brain Salad Surgery’ album and also Tyger Tyger Burning Bright, which was covered by Tangerine Dream for their ‘Tyger’ album in the 1980’s. This track is really rather good too, mixing eastern sounding violin lines into the overall sound to create some epic sounds and a riff not dissimilar to Rainbow’s Gates Of Babylon. It is all very impressive sounding and yet another excellent track. This leads into the album’s final track, All Heaven’s Breaking Loose, which is hinged on busy bass and guitar riffs, above all of which there is a soaring violin. This song is actually very energetic and there is a lot going on, with everyone seemingly doing their own thing but, somehow, it all seems to work and the track impresses greatly. There’s an excellent guitar solo from Simon, whose playing here is very effective and eloquently delivered and it ends the song, and indeed the album, in style.

At the live gig, the band also showcased a couple of new tracks that will, hopefully, appear on their next album but, for now, this will do very nicely. ‘Angels Of Peckham Rye’ is truly a splendid, interesting and engaging listen and one that you will want to return to frequently, I know I will. I do recommend this band and album to you, it’s worth it to hear that great violin!

Released 4th December, 2020.

Order from bandcamp here:

Angels Of Peckham Rye (album) | The Wood Demons (bandcamp.com)

Review – Z Machine – Merging Worlds by John Wenlock-Smith

I came across Z Machine, who hail from South Wales, via Facebook when they reached out for someone to listen to their music and I was very pleased to assist them with this. ‘Merging Worlds’ is a mixture of jazz fusion with some metallic edges and it also mixes in natural sounds to create something rather unique in its own way. The Band have a great sound and the use of Rob Harrison’s sax really works in their favour, as does having a drummer, Lester Greenhalgh, who is steeped in jazz which gives a lightness of touch, the high degree of talent and flair is also excellent. There are also two excellent guitarists in Gareth Piper and Owen Rosser who add significantly to the dense textures with some great licks and fills in the songs.

My initial thoughts were of Mel Collins work with King Crimson as the sound is heavy and dense with lots of room for the sax and flute to shine. Bassist Kristian Rees holds things down very tightly, his rumbling bass being another good fit to these songs. Well I say songs but they are all instrumental tracks, the album has six full tracks and six connecting pieces that act as a bridges between the tracks. This approach works especially effectively for the group and the use of natural and industrial sounds makes this a most interesting project and a very good listen too.

The album begins with Introduction – Amphibiospaien, the sound of birds and elephants, and what sounds like sirens but probably isn’t. This leads into Bonus Eruptus with a heavy riff and strong horns and drumming that powers the track along. There is also good interplay between the guitars and sax to create a most effective wall of sound with some great guitar fills. It’s all very musical and very Crimsonesque in parts and an excellent statement of intent from the band. This leads into the sequence track Interlude – Thunder in Paradise, which features thunder and percussion embellishments in a short piece. Big Old Hen is, again, very sax heavy with interjections by the guitars as the sax of wails most impressively. There are great dynamics at play here and also some great guitar flourishes and squeals that sound really impressive. This track, although short, has a lot going on throughout its seven minutes running time including a great guitar solo from Owen Rosser in which he channels his inner Mahavishnu as Rob Harrison adds supporting sax tones, another winner.

Interlude – Saltwash is next and this has radio chatter, electronica and what sounds like computer game noises before urgent drums lead in Myrtle the Turtle, Rob’s heavy sax playing a complicated syncopated riff, along with guitar fills. Thereafter aa short bass solo from Kristian takes the track into more heavy guitar licks and riffing as, again, the syncopated riff is repeated as drums crash all around the music with the guitarists peppering the riffs with tidy little fills and flourishes to sound really strong. It’s blistering and spirited and a really excellent track. Interlude – Whalespice Subdepth has ocean sounds along with train noises and then whale song and that leads us into Spacewalk with Kristian’s walking bassline accompanied by Robs Sax. There are yet more guitar embellishments courtesy of Gareth and Owen, who are both driving this track forward with drummer Lester Greenhalgh providing solid percussive support and drive. The middle part has a less urgent section where the band lesssen off and let the sax play languidly in places before regathering the tempo and moving forwards once again. I really like the interplay that is present in this track.

Interlude – Coyote Dusk features dogs barking and other night-time noises before Joining the Q opens with more solid bass work from Kristian. This shorter track has another great sax part from and more stylish guitar lines from Gareth and Owen, who follow the Sax melody with chiming arpeggios and harmonics. A short drum break from Lester then takes centre stage, eclipsed by the great fluid and lyrical guitar lines of Owen and Gareth who bring the track to a grand finale. Interlude – Driftscene has guitar tones and synths playing over forest noises before final track Synoceratus opens with a great flute over a quick bassline and guitars that are wailing in a most agreeable manner and tone. This piece burns like a Brand X outtake, it is most agreeable and satisfying to hear this degree of enthusiasm and dynamics being presented here. This is probably my favourite track of the entire album and really impresses, it’s a very good ending to what is a really strong album.

If you like the brassy strains of King Crimson this one might very well be for you. It is brilliant and incredibly interesting jazz  fusion for the modern age, I highly recommend this wonderful album.

Released 30th September, 2023.

Order from bandcamp here:

Merging Worlds | Z Machine (bandcamp.com)