Tag: Progradar

EINAR SOLBERG launches ‘A Beautiful Life’; second single from his debut solo album ’16’

EINAR SOLBERG – frontman of Norwegian rock mavericks Leprous – is pleased to announce the release of his debut solo album ‘16’ on the 2nd June 2023. Wildly diverse, but spiritually rooted in Einar’s well-established musical world, ‘16’ is an album that brims with surprises and spinning curveballs and features a collection of intimate but extravagant collaborations. 

Today sees the launch of the second single taken from the album, and you can watch the video for ‘A Beautiful Life’, directed by Elena Sihida, here: 

Einar comments: “‘16’ is a very diverse album, and “A Beautiful Life” is probably the most accessible song of the entire record! On most songs I’ve collaborated with other composers, but this is one out of four solo songs.”

‘A Beautiful Life’ features Einar joined by Keli Guðjónsson (drums), Tor Egil Kreken (bass), Raphael Weinroth-Browne (cello), Chris Baum (violin), Ben Levin (guitar) & Magnus Børmark (guitar).

Watch the video for the previously released track ‘Grotto’ (feat. Magnus Børmark) here, also directed by Elena Sihida: https://youtu.be/r_Ol_LSma6k

‘16’ will be released on Ltd CD Digipak, Gatefold 180g 2LP + LP-booklet & Digitally, and is now available to pre-order here: https://einarsolberg-artist.lnk.to/sixteen

Einar Solberg is as renowned for the tender honesty of his lyrics as he is for the eccentric majesty of Leprous’ music. But even by his usual standards, ‘16’ is an extremely emotional and dynamic piece of work. Einar describes the record as “the closest I’ve ever come to writing a concept album” and explains that the new songs are about a very specific and transformational period in the musician’s life. This is the sound of a restless spirit in his absolute element. 

“It’s called 16 because that’s when the first really, really bad things started happening to me in life. From 16 to 19, there were a lot of very life-defining moments that happened to me, and that changed me,” he says. “That’s when I kind of lost my innocence and I started realising that life is serious and bad shit can happen. A lot of pretty drastic things happened within those three years. But this album is not only about the bad things. It’s also about some of the career-defining moments, like the moment I started playing with the band and began to find a community to belong to. Emotionally, I’m a bit of everything, so it covers the entire emotional spectrum!”

’16’ finds Einar collaborating with everyone from modern prog contemporaries like Bent Knee’s Ben Levin and Agent Fresco’s Toti Gudnason, to experimental cellist (and regular Leprous live musician) Raphael Weinroth-Browne and Magnus Børmark, best known as a member of Norwegian alt-folk troupe Gåte. He also once again collaborates with Ihsahn and Star Of Ash amongst many others. The record was mixed by mixed by Adam Noble (Placebo, Biffy Clyro, Nothing But Thieves) and mastered by Robin Schmidt (The 1975, Placebo, The Gaslight Anthem, etc.). The cover artwork was designed by Elena Sihida. 

The full track-listing is as follows:

1.     16 (feat. Raphael Weinroth-Browne)

2.     Remember Me

3.     A Beautiful Life

4.     Where All The Twigs Broke (feat. Star Of Ash)

5.     Metacognitive

6.     Home (feat. Ben Levin)

7.     Blue Light (feat. Asger Mygind)

8.     Grotto (feat. Magnus Børmark)

9.     Splitting The Soul (feat. Ihsahn)

10.  Over The Top

11.  The Glass Is Empty (feat. Tóti Guðnason)

Einar will debut his solo material live with two exclusive shows at the Eindhoven & London editions of Prognosis Festival (15th & 22nd April respectively). You can find more details here: https://www.prognosis-festival.nl/

US Progressive Rock Group Ascher Release Debut Album ‘Beginnings’

New US progressive rock group, Ascher, release their debut album ‘Beginnings’ today, March 16th. The album, containing five instrumental pieces and four songs, clocks in at fifty-seven minutes. From the opening instrumental title track to the bonus track closer, “The Instrumental Divide,” the album flows seamlessly through a sonic landscape of guitar-driven rock, vintage keyboard wizardry, and a lofty hook-laden ballad. The instrumental pieces power through enough time signature and meter changes to keep the die-hard prog fan happy while the thought provoking songs reveal a more grounded down to earth feel. 

The band features Doug Bowers (Guitars/Keys/Bass/Vocals),  Blake Dickeson (Rhythm Guitars), Rob Perez (Lead Guitar), and Kyle Graves (Lead Vocals).

 Beginnings will be available via the band’s Bandcamp page as well as all digital music retailers and streaming sites. Lyrics are also available on Ascher’s Bandcamp page.
https://ascher1.bandcamp.com/album/beginnings

To coincide with the release of the album, Ascher has released video for the track, “What the World Can’t Give,” which you can see here: 

The band released their first single, “The Great Divide,” in February accompanied by a video:

Tracklisting:

1. Beginnings (6:03)
2. In the Clear Distance (5:07)

3. The Great Divide (7:44)
4. Ransom For the Righteous (6:19)
5. De Profundis (7:58)
6. Nail Soup (5:27)
7. What the World Can’t Give (6:03)
8. Wheels Turning Now (4:12)

Doug Bowers (Ad Astra, KDB3, Vertical Alignment) and Rob Perez (Visual Cliff, Bluesyndrome) have been collaborating on one another’s projects for years. A short-lived band formed in 2021 and disbanded in early 2022 yielded many co-written instrumental pieces that never saw the light of day. Toward the end of 2022, Doug began collaborating with guitarist, Blake Dickeson, fleshing out some musical ideas that Blake had developed over the years, Rob was brought in to add tasty lead guitar to the effort. When Rob suggested that the trio revisit some of the unfinished instrumental pieces, it was decided that a band might be the best expression of their growing repertoire. Thus Ascher was born. It quickly became apparent that Doug was not up to singing the melodies he was writing for his lyrics and the search for a proper singer was soon underway. Rob suggested a singer that he had recently encountered. Kyle Graves was writing lyrics for an upcoming album for Rob and Rob felt he would be a perfect fit for Ascher. Rob was right and the band was complete.

Review – Pryzme – Four Inches – by John Wenlock-Smith

Another new band (to me at least), Pryzme are a French four-piece outfit of two guitarists a bass player and a drummer, who all sing on this album. Their music is intricate and often delicate yet at other times, it thunders along. This breadth of styles gives plenty of room to explore, experiment, develop and enliven the songs. The guitars do not compete but rather they encourage and syncopate to craft the great textures you hear on ‘Four Inches’.

Fusion opens the album and has an interesting riff and sound, both hard and yet melodic with a repeated motif being used to fine effect. The band cite influences like Steven Wilson and Yes, among others. To be fair, some of these influences are fairly obvious and apparent, others less so. Taken together, the band are a highly effective unit, the use of all four musicians singing together is really good and sounds great. The song is enlivened by some great guitar lines and parts, solid bass and the ever excellent drums. Vision is a fairly muscular track with elements of Rush with great bass work holding everything together nicely. This song really impresses, especially the chugging guitar riffs that work really well and the great guitar break at the track’s end, powerful stuff indeed. After Wichita has a majestic and solid bass riff opening the song after the street noises, cars and footsteps set the tone. Another impressive saunter of a track that reminds me of Pat Metheny in places, which is possibly appropriate as he had a track called Wichita Falls earlier in his career.

Nothing To Say has more arpeggio guitar lines and solid bass work. This song has got some real meatiness to it with great guitar lines, it’s really a fine song made better by the gracefully inclined guitars that meld so well together, the lightness of touch and shimmering skills superbly on display. It’s magical and one for guitar nerds to salivate over for sure. Pretty Princess has a very Rush like opening of sustained guitar sounds and the volume swells leading into sweeping cymbal brushes and bass pedals before taking a jazzing turn with an almost danceable rhythm emerging. The vocals sound a little off key in this song though, for some reason. There is a most excellent guitar part on acoustic guitar that really enhances this track and that gives way to a beautifully fluid guitar solo, in a David Gilmour style, that is followed by a faster, funkier part and it all works well together. The Ride Of Your Life takes the album in a harder direction and tone, with crunchy guitars and metal riffs working together to make something pretty special and the multi-part vocals are used again to very fine effect. This is all very impressive really and makes for a fantastic song.

Morning Song opens lightly enough with gentle guitars before some really hard and kicking guitars soon enter the arena, laying down some fierce riffing tones. More excellent guitar solos follow proving just how exciting and excellent this band are. The final, and longest, track, Four Inches brings the album to a close but not before its thirteen minutes and fifty seconds have taken you for a exhilarating ride. Again, this track has pace and elements of Rush abound once again, especially in the bass playing and the arpeggio guitar. There is much to savour here really, gentle but effective guitar playing and plenty of space for the music to percolate well. The guitar playing throughout this album is highly impressive, tasteful and expressive. When the song reaches the middle section there is a brilliant solo section with everyone played along and the bass holding everything together before some solid riffing and bass interaction really grabs your attention. Everything then settles into a more melodic groove thereafter, although this is played against a sustained guitar note and a jazzy guitar line that accompanies the vocals. The song then moves back to a faster tempo and more dynamic parts with bass and guitars interacting once again with the bass notes high in the mix. Aa vocal section draws the song towards its climax and it ends with voices playing out against some fiery guitar tones to conclude the album.

A very different and yet rewarding album and one that bodes well for the future that awaits this extremely impressive and talented French band. An entertaining and rewarding release, Rush fans will love it!

Released 12th September, 2021.

Order from the band here:

Album Four inches – Pryzme

Or digitally from bandcamp:

Four Inches | Pryzme (bandcamp.com)

Review – Jade Warrior – Wind Borne – The Island Albums 1974 -1978 – by John Wenlock-Smith

There is a certain irony in that most progressive rock fans have a tendency to, in the words of Jethro Tull, be found Living In The Past. I can often be guilty of this myself,  is it that I hanker after a bygone age where I was young, free and single or is it more that I was growing up in an era where music had meaning and a certain quality? That’s probably a whole different essay, either way, whilst there are very many exciting new bands around that are taking prog forward again once more, there are also more opportunities to delve into the hidden corners and recesses of progressive music and to rediscover the overlooked, unsung artists who helped make the 1970’s such an interesting and innovative age, in the time before punk’s angry young men came along, wiping out much of that innocence and the beauty away.

Whilst it may be argued that it was time for another musical direction to emerge, it was the sheer disdain and hatred for what had been unceremoniously dumped that was such an affront to most serious prog fans who found this new development and style a very bitter pill to swallow and adapt to. Well it seemed that way to me as an 18 year old boy from the Midlands. Which brings us to this great set of albums that Jade Warrior made for Island records between 1974 to 1978, comprising the four albums made in that period, ‘Floating World’ (1974), ‘Waves’ (1975), ‘Kites’ (1976) and finally ‘Way Of The Sun’ (1978). This set, called ‘Wind Borne’ brings all four together in a nifty and attractive set with an always excellent sound and a great and informative booklet outlining the history of the band and how these albums came about.

I was aware of these albums and had often seen them about in the record shops that I was a frequent visitor to in Birmingham, yet I’d never actually listened to them properly. None of my friends were raving about them, they received little or no press that made them figure on my radar, so, like many others, I simply ignored them, considering them unworthy of my attention. There were lots of bands that met a similar response, sadly, I missed out on much fine music in those days.

Jade Warrior’s story is an interesting one, especially when you take into account that the two men who were the core of the band, Jon Field (flute) and Tony Duhig (guitars), were largely self taught. The music they created was different, other worldly and unique, music that was progressive in its style but was also a reflection of their interest in oriental art forms. You could cite this as being almost new-age in style, certainly it was an inspiration for the likes of Brian Eno who’s avant-garde music of the late 70’s can be traced back to Jade Warrior’s music and style.

The music is not an easy listening experience as it requires real attention to get the most out of it but, heard carefully, you can find much to appreciate in its very mellow and subdued tones. This music shimmers and builds in its intensity like layers of sound emerging and evolving, it is all extremely well crafted and put together with real care and respect for the musical form they were creating. This is subtle music, no blaring guitars as such, and probably all the better for the slow build. I suppose you could say it is minimalist new age music really as it is rather subdued. Unsurprisingly, the outfit’s second album ‘Waves’ is well suited to such an approach as waves are constantly building, growing then crashing and receding, only to return again in an endless cycle.

Their interest and affinity for things oriental came at a time when most Britons experience of oriental fare was a Vesta curry or a Chinese takeaway. Japanese culture was totally alien, apart from the ‘Made In Japan’ album, and had not yet made much of an impact in the U.K. at the time. Jade Warrior received far more critical  acclaim than commercial success, their  record contract with Island came about through the intervention of Traffic’s Steve Winwood when he recommended them to to the label’s Chris Blackwell. Winwood would later appear on their second album ‘Waves’ providing Piano and moog synthesisers. That album is a very interesting album being, as it is, two tracks of side long length that give much space for themes to emerge, develop and evolve throughout. There are also has some exciting  guitar passages that certainly impress. There are some drums on the album but even so this does not rock out much, if at all, it’s more there to add dynamics. The music is largely instrumental, although there are choral parts to the tracks Clouds and Clouds II on the ‘Floating World’ album.

The third album ‘Kites’ features the Chinese tale of Emperor Kite and the boat man, which is a 9th century story about life. This is a very fine series of tracks that together tell the tale of how the emperor interacts with a boat man at the riverside. The tale is detailed in the booklet which makes everything make sense.

The final album, ‘Way Of The Sun’, had a different feel as it concerned itself with a different set of influences, namely Inca and Mayan ones, which allowed for different musical paths to be taken. This approach seems to be effective and the album received significantly more interest than earlier albums but still did not result in more commercial success. Sadly, as a result, they ended their association with Island Records but, undeterred, continued to make music for different labels. They recorded the album ‘Horizen’ (1984) before drifting apart although they did reform in 1989 releasing ‘At Peace’.

Jon Field returned to London and found new musicians to work with though before they could record with Tony Duhig, he suffered a fatal heart attack. Field and co would record three albums under the Jade Warrior banner, ‘Breathing The Storm’ (1992), ‘Distant Echoes’ (1993) and ‘Fifth Element’ before heir final album ‘Now’ in 2008. Sadly their influence, whilst admirable and widely acknowledged, failed to translate into sales. Even so, these Island albums are definitely of interest and value as they show an extraordinary vision and sound that was of its time for sure but all very impressive still and I certainly enjoyed this collection of ambient progressive minimalism.

Released 31st March, 2023

Order from Cherry Red here:

Jade Warrior: Wind Borne – The Island Albums 1974-1978, 4CD Box Set – Cherry Red Records

Review – Dominic Sanderson – Impermanence

Being a music reviewer and a fan of music is always a voyage of discovery and, every now and again, these discoveries are quite remarkable indeed. When 23 year old Progressive Rock artist Dominic Sanderson reached out to me via email and invited me to listen to his debut full length album ‘Impermanence’ I was intrigued by the fact he was influenced by the likes of Steven Wilson, Marillion, King Crimson and Pink Floyd and drawn even deeper into this young man’s web by the striking album artwork, incidentally all artwork and lyrics were handled by Dominic’s dad (who has been instrumental in shaping his music taste and is the reason Dominic loves prog rock).

The PR blurb’s bold claims then sold it to me completely, “Impermanence strikes a perfect balance between a traditional symphonic progressive rock sound, as epitomised by heavy use of mellotron, Hammond organ, flute and baritone saxophone, and modern production techniques that anchors this firmly in the 21st century despite obvious influences such as King Crimson, Steven Wilson, Wobbler and Anglagard. Heavier, movement-led tracks such as ‘The Twisted Hand of Fate’ and ‘Is There Calm Amongst This Chaos?’ contrast softer ballads (‘This Night and the Wounds it Will Bring’) and avant-garde, experimental tracks (‘A False Sense of Promise’). The album was recorded wholly independently by myself, my band and a variety of excellent musicians and producers using the University of Liverpool’s SSL studio over the course of a year. It promises to deliver a truly progressive sound that so many modern ‘prog’ bands fail to capture.”

Would this provocative album live up to the hype?

The solid, if formulaic, opening of I Don’t Think I can Get Over This After All is a good start but things only get better and immensely so. Dominic’s vocals have a early fragility to them and the acoustic guitar adds a sparse background, the track then opens up with a glorious instrumental section overlaid by hushed vocals leaving you wanting more and wondering where the album will go next. Into the stratosphere actually! The Twisted Hand Of Fate has the hallmark of ‘Insurgentes’ era Steven Wilson, all full of mystery and opaqueness. The musicianship is quite remarkable and the angst of the crashing drums, chaotic keyboards and wailing guitars is hypnotic delivering five minutes of modern prog brilliance. The softer tones of This Night And The Wounds It Will Bring brings some calm serenity to proceedings, a pulsating, shimmering track where the music is given space to breathe, the vocals low and hushed. There’s always an undercurrent of something primeval, almost alien threatening to break out and that makes the hairs on the back of your neck rise in a deliciously suspenseful way.

Like King Crimson but without the intransigence, Is There Calm Amongst This Chaos is a superb progressive rock track that would grace any era of the genre. It is a carefully judged and superbly delivered six minutes of clever variation and moods, dark and dangerous yet chinks of light shine through at vital moments and make this an intelligent piece of music where the musicians are given free reign to deliver something compelling and captivating. The ebb and flow of the staccato section is just genius and leaves me open mouthed in admiration. After the thought-provoking intensity of the previous track, the soothing, relaxing composure of delightful instrumental An Empty Room is a welcome contrast and, as it closes on a lifting note, a musical palate cleanser that leads into the avant-garde splendour of A False Sense Of Promise. This intricate journey into the experimental and enigmatic has a fleeting, wistful feel. Almost like a musical narcotic, its soporific nature leaves you mesmerised and entranced as it dances across your synapses.

The album closes with the near twenty minute prog epic Like Shards Of Glass Falling Through My Fingers, a perfectly constructed song that shows the sheer talent and inventiveness of Dominic and this incredible set of musicians. The intro with its awe inspiring organ and choral vocals is nape tingling and only the beginning of this musical adventure. The musical interplay between the keyboards, drums and guitar is just magical, just sit back and enjoy the show as the drama unfolds before you, the soaring guitars adding even more theatre and showmanship. Ethereal, ghostly vocals wash over the music to deliver perfect modern progressive rock and showing a maturity well beyond Dominic’s tender years. It’s an object lesson in how to hold the listener’s attention over an expanded running time, there’s always something going on but nothing is gratuitous or mere padding and the way this monumental track closes is just sheer genius.

‘Impermanence’ is quite possibly the best truly progressive release I’ve heard in many a year, Dominic’s influences are obvious but that’s all they are, he takes those influences and blends them into something distinctive, unique and utterly brilliant. It is an exceptional release and stands well above the norm and, after the relatively disappointing (well, to my ears anyway) ‘Closure/Continuation’, is the album that Porcupine Tree really should have written.

Released 25th February, 2023.

Order from bandcamp here:

Impermanence | Dominic Sanderson (bandcamp.com)

Prog Ensemble CAIRO To Release 2nd Album “Nemesis” on May 5, 2023

The eagerly anticipated follow up album from 5-piece award winning progressive rock band CAIRO “Nemesis” will be released on May 5th on Spirit of Unicorn Music.

This studio album, recorded with John Mitchell at Outhouse Studios, taps into contemporary global concerns and demonstrates the band’s impressive, genre-defying approach with menacing, angular riffs, pop rock hooks and electronic soundscapes that all beautifully complement powerful and emotive vocals.

In this exciting and purposefully eclectic new album, the band venture into familiar ‘CAIRO rocks’ territory with the dynamic, moving epics. There are also some exciting departures for the band venturing into more melodic rock areas with “The Love” and “Glow,” and upbeat banger “Jumping On The Moon.”

Artwork is by Paul Tippett (It Bites, Frost, Kino, Twelfth Night, Pendragon, Europe, Inglorious, Uriah Heep), with additional artwork consultancy from Andrew Wildman (Marvel Comics, Transformers, X-Men; storyboard artist for Doctor Who; Luther, Poldark).

There is also even a short keys-based orchestral instrumental, “Save The Earth,” which doffs a cap to the likes of the sadly, recently departed Vangelis, and acts as a prologue into the title track.

Track List
1. Asleep At The Wheel
2. Tripwire
3. Glow
4. Rogue
5. The Love
6. New Beauty
7. Déjà Vu
8. Jumping On The Moon
9. Save The Earth
10. Nemesis

To pre-order: https://www.cherryred.co.uk/product/cairo-nemesis-cd-edition/

For more information: https://cairorocks.com/

Norwegian progressive rock/metal group AVKRVST release debut single “The Pale Moon” 

Norwegian progressive rock/metal group AVKRVST are pleased to announce their debut single “The Pale Moon”, the first release of the band since its formation.

“The Pale Moon” is the first single of AVKRVST’s upcoming debut album, which will be out this year via InsideOutMusic/Sony Music. More information will be revealed on March 31st.

The first single from the album “The Pale Moon” is now available on all digital platforms.

Check it out here:

Avkrvst – The Pale Moon – Single (lnk.to)

Vocalist Simon Bergseth had this to say about the track: “Besides being the opening track of our forthcoming debut album, it is a piece of music that contains some of the albums sonics in general. ‘The Pale Moon’ is the beginning of something greater and gives the listener a glimpse of what’s to come.”

The cover artwork for “The Pale Moon” was created by Berlin-based artist and illustrator Eliran Kantor, who is well-known for his intriguing cover creations for metal bands. 

Earlier this year the band shared a teaser video of them working in the studio which you can see here:

At the young age of 7 years old, Martin Utby and Simon Bergseth made a pact that they would form a band when they got older. Now, 22 years later they’ve done just that. An album is ready – 55 minutes of music inspired by everything they grew up listening to – everything from Mew, Anekdoten and Porcupine Tree to Opeth, Neal Morse and King Crimson.

All the music has been written at a small cabin, deep into the Norwegian forests (Alvdal,Norway). Simon (composer, guitars, bass and vocals) and Martin (composer, drummer and synths) have later been joined by Øystein Aadland on bass/keys, Edvard Seim on guitars and Auver Gaaren on keys.

More to come. 

AVKRVST Online: www.facebook.com/avkrvst www.instagram.com/avkrvst

Review – ASIA – FANTASIA, LIVE IN TOKYO 2007

2023 seems to be the year of the multiple vinyl live album, first The Tangent with the triple vinyl release of the excellent ‘Pyramids, Stars & More: The Tangent Live Recordings 2004-2017’ and then Transatlantic with a quadruple (yes, you read that right!) vinyl release of the monumental ‘The Final Flight: Live at L’Olympia’. Well, it’;s now the turn of venerable prog supergroup ASIA with a triple vinyl version of ‘FANTASIA, LIVE IN TOKYO 2007’, have we got another slam dunk brilliant release? read on and you will find out…

Celebrating the 25th anniversary of ASIA’s formation, this exciting 18-track live show from their 2007 world tour features the reformed original line-up pooling the talents of lead vocalist/bassist John Wetton (King Crimson), Steve Howe (guitars, Yes), Geoff Downes (keyboards, Yes and Buggles) and drummer Carl Palmer from Emerson, Lake & Palmer.

The setlist focusses on their globally successful 1982 debut album ‘Asia‘ and features key tracks Only Time Will Tell, Sole Survivor and their worldwide anthem Heat Of The Moment along with select tracks from their second LP ‘Alpha‘ and one song each from the band members’ previous bands – Video Killed The Radio Star, Roundabout, Fanfare For The Common Man and The Court Of The Crimson King.

The package itself is a rather fine thing with artwork form the legendary Roger Dean and a very knowledgeable LP sized booklet telling the whole story behind the concert.

Now, to me, live albums can either be good or bad, there is nothing worse than a badly performed version of a classic song with a horrendous mix from the sound desk meaning you really cannot tell what you are listening to but, when done well, they can become a lasting monument to some of our favourite musicians.

I’ll cut the suspense and get to the point, this new live release is absolutely fantastic for the die hard Asia fan and newcomers to the band alike. Stand out highlights for me are the obvious ones. The versions of Heat Of The Moment and Sole Survivor are without a doubt the best live versions you are likely to hear, John Wetton’s distinctive vocals are on seriously good form and you can literally feel the dynamism and intensity in his performance. His banter with the crowd is particularly good between songs and means there is never any lull or drop in energy levels from the band or the crowd.

Wildest Dreams, Without You, Don’t Cry, Here Comes The Feeling, the hits keep coming with passion and fervour and you really get to feel the strong bond between Wetton and Carl Palmer, a very tight rhythm section indeed. The inclusion of tracks form the band member’s previous bands is also a masterstroke, I found myself mesmerised by Roundabout, one of my favourite tracks from Yes and you can hear that Steve Howe is having the time of his life as his guitar literally dances through this classic track. John Wetton does a great job on vocals for Video Killed The Radio Star but it’s really Geoff Downes time to shine on this track and I can’t help but break into a smile when the intro to the song begins. Downes is obviously having a blast on a wonderfully inspired version of Fanfare For The Common Man and the quartet’s delivery of the King Crimson mainstay, The Court Of The Crimson King is positively masterful.

This three LP boxset is a wonderful way to spend an evening and the format definitely gives you a feeling of nostalgia, it’s full of memories and a lasting legacy for four of progressive rock’s greatest musicians having the time of their life, they really don’t make them like this anymore! As the last notes of Heat Of The Moment play out and the audience’s cheers and applause fade out, I can’t help but wish I’d been there that evening, right in the midst of what was obviously an amazing concert and experience and that’s what the best live albums do, isn’t it?

Released 24th February, 2023

Order the boxset here:

Fantasia – Live In Tokyo (lnk.to)

KSCOPE ANNOUNCE THE RELEASE OF ‘BLACKFIELD : AN ACCIDENT OF STARS: 2004 – 2017’

A 7 Disc Deluxe Book-set with Previously Unreleased Live Show – Out March 31st 

Kscope are delighted to present ‘Blackfield : An Accident Of Stars: 2004 – 2017’, a collection of the band’s work from 2004 to 2017 released together for the first time . Housed in a deluxe book-set, with a 64-page book featuring liner notes by Anil Prasad at the center, it details the beginnings and inner workings of Blackfield’s journey through interviews and rare photos with both Steven and Aviv. This is a special, limited edition, one time pressing.

“The band’s palette is rich and assuredly dense. Strings stutter and fall, the tone can best be described as lush, gentle and reassuring” – Classic Rock Magazine

Aviv Geffen, one of Israel’s most iconic and best-selling musicians and Steven Wilson frontman of Porcupine Tree and solo artist extraordinaire have both built a dedicated global following. Working together as Blackfield, the two have cultivated a unique sound that brings together the best elements of both artists to create something completely unique, yet immediately identifiable. Something evident in this collection of their combined works as Aviv Geffen illustrates below:

“Steven and I connect across art, politics, and life in general. We’re always switching around between ideas when we’re together. That’s why our partnership works so well. You can feel the love in Blackfield.” – Aviv Geffen 

Included are the first five albums (Blackfield / Blackfield II / Welcome to my DNA / Blackfield IV / Black V) as well as a bonus disc of the band’s previously unreleased incredible show at Paradiso Amsterdam from 2011 (Live DNA).

“melancholy Art Pop” – Visions

Alongside this will be a newly produced Blu-ray which has ‘Blackfield’, ‘Blackfield II’ and ‘Welcome To My DNA’ in 24bit 44.1kHz format, ‘Blackfield IV’ and ‘Blackfield V’ in 5.1 Surround Sound and High Resolution 24-bit Stereo, plus the bands’ promo videos from this period are also included and the 2007 concert film ‘Live in N.Y’  

‘BLACKFIELD : AN ACCIDENT OF STARS : 2004 – 2017’

Contents

  1. Blackfield (2004)
  2. Blackfield II (2007) 
  3. Welcome to my DNA (2011) 
  4. Blackfield IV (2013) 
  5. Blackfield V (2017) 
  6. Live DNA: Recorded at the Paradiso, Amsterdam, The Netherlands on 10th April 2011 – Previously unreleased
  7. Blu-ray – Blackfield Hi-Res + Live in N.Y. & Official Promo Videos

               – Blackfield & Blackfield II – 24bit 44.1kHz

               – Welcome To My DNA – 24bit 96kHz

               – Blackfield IV & Blackfield V – 5.1 Surround Sound and High Resolution 24-bit Stereo

               – Live in NY – Visual Concert in 5.1 Surround and Stereo

               – Promo videos 

Pre-order HERE (https://blackfield.lnk.to/accidentofstars) 

Review – Flamborough Head – Jumping The Milestone – by John Wenlock-Smith

Flamborough Head is a rocky promontory that lies on the east coast of England between Filey and Bridlington. It is a chalky headland that reminds one of a sleeping dinosaur, it is also a walker’s haven and you can see seals at certain times of the year. We visited it last year and had a great couple of hours enjoying its natural beauty. At that time I was completely unaware of the existence of a band that had the same name, so the opportunity to listen and review this album was too good to pass up. Flamborough Head has been in existence for almost 34 years, being originally formed in Friesland in the Netherlands in 1990, they have been through several different incarnations and line ups, peppered with spells of inactivity over the years, and have produced ten albums during that time, mostly on the Cyclops label, then latterly on the Oskar label, on which we find this latest one, ‘Jumping The Milestone’.

The music the band create falls very firmly into the realm of symphonic progressive rock with excellent use of flute, keyboards and very fluid guitar solos. The band are fronted with the excellent soft vocals of Margriet Boomsma who also provides flute and recorders and Eddie Mulder who was the original guitarist but is now the bass player, with Hans Spitzen providing the guitar fireworks, aided by sublime keyboards from Edo Spanninga. Together they make a very good sound, everything a symphonic prog fan could want, expansive and intelligent with lots of interesting reference points. They combine the style of Marillion, Arena and IQ to great effect, there is much to recommend here.

The album has just six tracks, all are of an excellent standard with much happening musically within. I am reminded of Camel at times with the fabulous flute playing and the very lyrical guitar of Hans Spitzen, who makes every track shine.

The Garden Shed is about the joy of gardening and the benefits it can bring to one’s mental health and how, overal,l it can be of positive benefit, a most different sort of track but with good sentiments expressed within. Tomorrow Is Another Day is a further great track with a good opening section with great flute and a surging Hammond Organ playing throughout. The song is about depression and how it can haunt an individual, robbing them of joy in their life. This is all sensitively handled and in a positive manner and has a graceful guitar solo that really captures you as you listen. The song has good insight into fighting depression and some good advice too, I like that it is real and not patronising in its approach but sympathetic and hopeful too.

Start Of A Nightmare is an interesting track in its subject matter of an unwelcome intrusion and the prospect of injury at the hands of an unhinged, unwanted intruder. This is quite a different sort of song with lots of light and shade to depict the unfolding events making it most memorable with strong performances from each member and more great guitar to help carry the song along. The song expresses the lasting sense of unease that any unwanted intrusion can cause you and how unsettled you can be afterwards for a very long time. Fear Of Failure is about insecurity and how the fear of failure can really impact on one in a negative manner. Again, this is handled delicately and with sympathy and dignity. It’s about handling those feelings and facing them down, believing in yourself and the abilities you have. It talks about applying resilience to your situation and overcoming it for yourself, almost a self-help in reality. The music is very strong and supportive and the lyrics are excellent, making for a great song overall that’s very positive in its outlook.

Penultimate song Walls Of Words is about being left behind, overlooked and unappreciated by those around you. It is rather a sombre and maudlin piece but, once again, this is all handled very well, along with it being a well written and realised track with solid musicianship at its core, especially when the song leads to the suicide of the protagonist in the song. Final and longest song, Jumping The Milestone concludes this superb album. Opening with heavenly piano motif alongside an ethereal flute before Margaret’s delicate vocals begin, the track is about growing older and all the challenges that brings. This song handles its subject matter with great intelligence and good insight, it is a celebration of life as opposed to being rather a depressing slide into twilight. It reminds us all of the journey that is life, being one that we all have to undertake, it talks of the good things in life that we can all gather into our own storybook. This piece also tells us to be grateful that we can have these days in which we can age and that we should value these days. The song moves through different sections and movements with aplomb and style, lots of excellent guitar parts and sympathetic keyboard embellishments pepper the track insightfully. An epic for sure but it’s never a dull one at all, excellent guitar solos take the track forward in different directions, all of which are  strong.

This is a most interesting and tasteful album of deep emotion and content, extremely well presented and performed by an excellent and talented band. I can only but sing its praises to you and recommend that you listen to it, if you do then you won’t regret it.

Released 3rd November, 2022.

Order from bandcamp here:

Jumping The Milestone (CD) | Flamborough Head | OSKAR records (bandcamp.com)