Released today and described as heavy psychedelic pop, Photogenic Love is the 3rd single from the upcoming 4th Fierce And The Dead album (out early 2023). This track brings to mind Faith No More, Tame Impala, Smashing Pumpkins, LCD Soundsystem, Flaming Lips, Gorillaz and MGMT and once again features vocals from TFATD bassist Kevin Feazey.
TFATD guitarist Steve Cleaton says of the release “I think this track is a good example of the creative process we used on many of the newer songs. The circumstances of the last couple of years, of course, meant that we couldn’t practice together that much. Rather than let this get in the way of writing new material, we decided to employ wholly different methods, and often different instruments, than we have done in the past. I really enjoy playing this one, the melodies stand out, and I think kev did an excellent job on the singing!! I hope listeners like it too!!”.
Stuart Marshall, drummer added “The song covers a fair amount of ground in terms of sonic dynamics. Evolved during a new online writing process, that collaboratively evoked different influences from genres including, 70’s rock, 80’s pop and post rock. It’s a vocal ear-worm and a song we hope to hear people singing along to at shows”.
A big departure from the band’s previous sound, I think this is a fantastic new direction and sounds like 90’s pop mixed with fuzzy psychedelica, almost like A-ha met with the Gorillaz and asked Billy Corgan to join in the fun. It sees The Fierce And The Dead taking the next step in their journey and is, to my ears anyway, bloody fantastic and their best song yet!
“You ain’t progressive if you ain’t progressing, innit…?”
Glass Hammer’s Steve Babb put out the call two weeks ago for fans that would like to video their first reactions to All Alone, track number four from the band’s new album, At The Gate.
“Our fans are very loyal,” says Babb. “It seemed like a fun idea to include them this time! There are a few cool cameos as well; Jon Davison (Yes), Jon Beagley (Life In Digital), Dave Kerzner (Sound Of Contact), Prog-rock reviewer Pete Pardo (Sea Of Tranquility), and more.
All Alone is one of our heavier tunes, but there’s plenty of progginess in the track. The rhythm is really infectious—which I thought made it a good song for reaction videos. Heads are bobbing non-stop throughout!”
Vocalist Hannah Pryor fronts the band on All Alone, with some help from Steve Babb, whose vocals bookend the song.
You can order the album from the band’s website here:
KANSAS, America’s legendary progressive rock band, will celebrate their 50th anniversary in 2023. To commemorate this landmark occasion, current label InsideOutMusic are pleased to announce Another Fork In The Road – 50 Years Of Kansas for release on the 9th December 2022. A career-spanning collection, it features carefully-selected tracks from across the bands sizable discography, as well as a new version of ‘Can I Tell You’. Originally recorded and released on their 1974 debut, the song is updated by the current line-up, providing a full-circle perspective on the band’s long and continuing history that has seen them release 16 studio albums and sell in excess of 30 million albums worldwide.
Phil Ehart comments: “We are really honored by the commitment that InsideOut Music has put into ‘Another Fork in the Road.’ This is far more than just another greatest hits album. ‘Another Fork in the Road’ is an in-depth representation of the evolving and winding musical journey of the band KANSAS that’s been 50 years in the making.”
Another Fork In The Road – 50 Years Of Kansas will arrive as a 3CD Digipak collection, including extensive liner notes by journalist Jeff Wagner, as well as pictures of rarely-seen memorabilia and archive material, all overseen by founding member Phil Ehart.
The full track-listing is below. Please note, due to licensing restrictions there are minor differences between the European & North American release.
Disc 1:
1. Can I Tell You (new 2022 version)
2. The Absence of Presence (The Absence of Presence, 2020)
3. Throwing Mountains (The Absence of Presence, 2020)
4. Crowded Isolation (The Prelude Implicit, 2016)
5. Summer (The Prelude Implicit, 2016)
6. The Voyage of Eight Eighteen (The Prelude Implicit, 2016)
7. Icarus II (Somewhere to Elsewhere, 2000)
8. The Coming Dawn (Thanatopsis) (Somewhere to Elsewhere, 2000)
9. Distant Vision (Somewhere to Elsewhere, 2000)
10. The Wall (Always Never the Same, 1998)
11. Dust in the Wind (Always Never the Same, 1998)
12. Desperate Times (Freaks of Nature, 1995)
13. Under The Knife (Freaks of Nature, 1995)
EU Version – Disc 2:
1. House on Fire (In the Spirit of Things, 1988)
2. Rainmaker (In the Spirit of Things, 1988)
3. Silhouettes in Disguise (Power, 1986)
4. Secret Service (Power, 1986)
5. Three Pretenders (Power, 1986)
6. End of the Age (Drastic Measures, 1983)
7. Incident on a Bridge (Drastic Measures, 1983)
8. Play the Game Tonight (Vinyl Confessions, 1982)
9. Crossfire (Vinyl Confessions, 1982)
10. Windows (Vinyl Confessions, 1982)
11. Hold On (Audio-Visions, 1980)
12. Loner (Audio-Visions, 1980)
13. No One Together (Audio-Visions, 1980)
14. On The Other Side (Monolith, 1979)
15. How My Soul Cries Out For You (Monolith, 1979)
North America Version – Disc 2:
1. Fight Fire With Fire (Drastic Measures, 1983)
2. End of the Age (Drastic Measures, 1983)
3. Incident on a Bridge (Drastic Measures, 1983)
4. Play the Game Tonight (Vinyl Confessions, 1982)
5. Crossfire (Vinyl Confessions, 1982)
6. Windows (Vinyl Confessions, 1982)
7. Hold On (Audio-Visions, 1980)
8. Loner (Audio-Visions, 1980)
9. Curtain of Iron (Audio-Visions, 1980)
10. No One Together (Audio-Visions, 1980)
11. On The Other Side (Monolith, 1979)
12. Angels Have Fallen (Monolith, 1979)
13. How My Soul Cries Out For You (Monolith, 1979)
Disc 3:
1. Carry On Wayward Son (Two for the Show, 1978)
2. Portrait (He Knew) (Point of Know Return, 1977)
3. Sparks of the Tempest (Point of Know Return, 1977)
4. Miracles Out of Nowhere (Leftoverture, 1976)
5. Magnum Opus (Leftoverture, 1976)
6. Icarus – Borne On Wings of Steel (Masque, 1975)
7. Child of Innocence (Mas que, 1975)
8. Down The Road (Song for America, 1975)
9. Song For America (Song for America, 1975)
10. The Devil Game (Song for America, 1975)
11. Death of Mother Nature Suite (Kansas, 1974)
12. Belexes (Kansas, 1974)
13. Journey From Mariabronn (Kansas, 1974)
Kansas will celebrate their 50th anniversary with extensive touring in North America in 2023. The band is currently comprised of original drummer Phil Ehart, bassist/vocalist Billy Greer, vocalist/keyboardist Ronnie Platt, violinist/guitarist David Ragsdale, keyboardist/vocalist Tom Brislin, and original guitarist Richard Williams.
With a legendary career spanning five decades, KANSAS has firmly established itself as one of America’s iconic classic rock bands. This “garage band” from Topeka released their debut album in 1974 after being discovered by Wally Gold, who worked for Don Kirshner, and have gone on to sell more than 30 million albums worldwide.
Composing a catalogue that includes sixteen studio albums and five live albums, KANSAS has produced eight gold albums, three sextuple-Platinum albums (Leftoverture, Point of Know Return, Best of KANSAS), one platinum live album (Two for the Show), one quadruple-Platinum single ‘Carry On Wayward Son,’ and another triple-Platinum single ‘Dust in the Wind.’ KANSAS appeared on the Billboard charts for over 200 weeks throughout the ‘70’s and ‘80’s and played to sold-out arenas and stadiums throughout North America, Europe and Japan. ‘Carry On Wayward Son’ continues to be one of the top five most played songs on classic rock radio, and ‘Dust In the Wind’ has been played on the radio more than three million times!
The summer of 2020 marked the release of The Absence of Presence, KANSAS’s sixteenth studio album, which debuted at #10 on Billboard’s Top Current Albums chart. The wide-ranging progressive rock album, released by InsideOut Music, follows-up 2016’s The Prelude Implicit, which debuted at #14 on Billboard’s Top 200 Albums chart.
Described as heavy psychedelic pop, Photogenic Love is the 3rd single from the upcoming 4th Fierce And The Dead album (out early 2023). This track brings to mind Faith No More, Tame Impala, Smashing Pumpkins, LCD Soundsystem, Flaming Lips, Gorillaz and MGMT and once again features vocals from TFATD bassist Kevin Feazey.
TFATD guitarist Steve Cleaton says of the release “I think this track is a good example of the creative process we used on many of the newer songs. The circumstances of the last couple of years, of course, meant that we couldn’t practice together that much. Rather than let this get in the way of writing new material, we decided to employ wholly different methods, and often different instruments, than we have done in the past. I really enjoy playing this one, the melodies stand out, and I think kev did an excellent job on the singing!! I hope listeners like it too!!”.
Stuart Marshall, drummer added “The song covers a fair amount of ground in terms of sonic dynamics. Evolved during a new online writing process, that collaboratively evoked different influences from genres including, 70’s rock, 80’s pop and post rock. It’s a vocal ear-worm and a song we hope to hear people singing along to at shows”.
Biography:
The Fierce And The Dead formed in London in 2010, with all 4 members originally from Rushden, Northants. They mix in elements from psychedelic rock, old metal records, post-rock, prog, broken analogue synths and shoegaze. Their music has been championed by Kevin Cole of KEXP, Stuart Maconie on BBC 6 Music and Steve Davis on his Interesting Alternative Show.
They released their breakthrough 3rd album The Euphoric in 2018 via BEM records which was Classic Rock Magazine’s Prog Album Of The Year and 8th in Prog Magazine’s critics choice. Prog magazine included them in their 100 Prog Icons and they have appeared ranked highly in the magazine’s Readers Poll for multiple years and categories, although the band never considered themselves to be deliberately prog. Pre-COVID headline shows in Manchester and London sold out months in advance.
They have toured with Hawkwind, Big Business, Dave Lombardo, Crippled Black Phoenix, Evil Blizzard and Monkey 3 and at festivals in the USA, Europe, and the UK including Freak Valley, Prognosis, Arctangent, HRH, Kozfest, Ramblin Man and Rosfest. 2022 dates have included festivals in the UK, Holland and Italy. They have released 3 studio albums alongside 4 EPs and 3 live albums.
Man are a band of who you have almost certainly heard, yet may be largely unaware of for various reasons. Their style and sound encompasses both progressive and psychedelic leanings along with a smattering of West Coast sounds. Think of a Welsh version of Grateful Dead and you won’t be a million miles from their influences and their missive.
I became aware of Man through their rather splendid 1975 album ‘MaximumDarkness’, a live set recorded at The Roundhouse in North London, a show which also featured John Cipollina of Quicksilver Messenger Service as a guest guitarist.. This one album was highly regarded, especially by my school friend Peter who had also influenced me with his bizarre yet enticing recommendations, ZZ Top’s‘Fandango’ live album and Foghat’s ‘Energized’, among others. He was also a huge Uriah Heep fan but this was his favourite, becoming an admired piece of work, its classic cover and excellent grooves making for a rewarding listening experience.
This new boxset from Cherry Red captures much much more of that sound and era, the sets are spectacular, really capturing the essence of Man who were always a far better band live as that was where they excelled, truth be told. Some bands are far far better live than on record and that was definitely the case with Man. Live they were a force of nature, stretching songs to the max and turning in excellent performances which is why they released so much live material as they were at their best on stage.
This set has 4 CDs and 2 DVDs of live performances. Okay, there is a bit of overlap but that doesn’t really matter, especially if you are a fan like me. I never saw Man live so this is an opportunity to rectify, in part at least. The set is compiled from recordings made for the BBC and covers the period 1972 to 1983. This includes favourites like Spunk Rock, Romain, Life On The Road, C’mon and Bananas, the sound is good throughout and you can hear their influences clearly. I especially like the longer tracks where improvisation is given free rein. There is some very fine music on display here, great dual guitar lines, good slide guitar and a very solid rhythm section prowling things along.
Very noteworthy is the track God Gave Us Turtles that was unreleased at time of recording and later surfaced as the epic album track Scotch Corner on the ‘RhinosWinos and Lunatics’ album, here it is in embryonic form. Also laudable is the live recording of Man’s 1983 Friday Night Rock Show coverage of their Reading Festival performance from August of that year, with great versions of Spunk Rock, C’mon and Bananas. There’s also a great set from The Rainbow on DVD and the long thought lost BBC Schools documentary from 1973. Man were more of an albums band, their music did not fit the mainstream well. It was too hippyish and drug fuelled to fit easily, although it was popular with students and hippies, their ever changing line-up didn’t help much either.
I also really enjoyed the last performance from The Rainbow in 1976 that later emerged on the album ‘All’s Well That Ends Well’ in 1977, their last album before they reformed for The Marquee shows in 1983 and The Reading Festival show. It’s great to have a film of that performance where they are a bit looser and less restrained.
I have to say this set really grows on you as you familiarise yourself with it and it will appeal to fans of Man far more than the casual listener, although it does serve as a good way to get a taste for the band as most of their more accessible tracks feature here. For me though, I’d start with ‘Maximum Darkness’ and work forward from there as most of their albums are worth hearing.
With excellent music, a great booklet and two great DVDs of performances, what more could you ask for? I’d certainly recommend this to listeners as it is an excellent and comprehensive collection compiled with a lot of affection and attention to detail.
On the 11th of September 2017 a tragic event rocked the home of Steve Howe and his family when his 41 year old son Virgil died of a sudden unexpected heart attack. Virgil and Steve had produced an album together earlier in that year, called ‘Nexus’, this was an instrumental album that brought Virgil’s drums and keyboards together with Steve’s lyrical guitar lines and tones to great effect. Well, after Virgil’s death Steve found an unused and unreleased track, Lunar Mist, that became the starting point for this album in which Steve has completed musical sketches, ideas and concepts and has added bass and guitar to complete an entirely new album. One that not only is a tribute to his son but, one that allows his legacy to continue. Again, this is fully instrumental in sound but in its fourteen tracks lie some beautifully crafted sound scapes and paintings.
The album opens with the title track, Lunar Mist, that starts with single piano notes before a lumbering tone evokes a mist rolling across the landscape. This is a very simple but effective number with lots happening musically. The drumbeat is steady and the bass and guitars lock into the rhythm as Virgil’s keyboard sound evokes the mist, I really like this track, simple yet captivating. More Than You Know features Steve on acoustic nylon string guitar, where his tone is warm and delicate, showing once again why he is so highly regarded as a master guitarist and composer/musician and its gentle nature really makes a fine impression. Plexus sees Steve laying down some suitably fluid pedal steel lines over a delicate piano track. Again, this is another masterful piece and, at seventy-five years of age, Steve Howe continues to make valid musical statements.
This is a generally laid back, mid-tempo album but within all that is the creativity and also the close connection the two had and that Steve continues to hold dear and that shows in this music.
Mariah’s Theme is another commanding piece of music that begins with what sounds like vibes and a delicate synth along with what sounds like either ring modulation or bells. Steve’s guitar is then introduced, alongside a middle eastern sound, it’s all very exotic but, once again, very effective. This is followed by the excellent A Month In The Sun, which allows Steve some space for some inventive guitar parts. The track has a lumbering, swaggering sound that is very effective. This is an album that improves with familiarity as its hidden depths are unravelled. As If Between is less successful and is more throwaway to these ears but it is only a short track so it doesn’t ruin the album. Never Less is more on point for me with a fine blend of Virgil’s piano and Steve’s nylon strung guitar making wonderful music.
Lothian’s Way is another shorter track that has more of Steve’s delicate acoustic guitar offset among a plethora of swirling keyboards. There is a bit of a Celtic effect attempted but it doesn’t really succeed to my ears, even so, it is still a strong and enjoyable piece. Free Spirit is an engaging track that is very reminiscent of those Windam Hill albums of the late 90’s as this ploughs a similar path but ,with Steve’s distinctive guitar tones, this is a definite winner of a track! Eternal opens with strong piano lines leading the music, in fact Steve’s guitar is largely absent in this track and this is a great piece even without it. Dirama is next and is another strong track with very well defined guitar lines from Steve and strong keyboards from Virgil, another brief track but it is a very worthy one.
This album has a variety of moods and tones, all of which, taken together, make for a very pleasing listening experience and you can appreciate the crafting that has turned these ideas into reality in such a gracious and worthwhile manner.
The shorter track Pinnacle is next with short bursts of guitar from Steve offset against expansive keyboards in a concise statement of intent. Pagoda sounds like it should be Oriental sounding but, sadly, is a missed opportunity perhaps? Final track Martian Mood is suitably spacey sounding with lost of ascending and descending synth lines and some great angular guitar interjections.
This concludes an album consisting of some excellent tracks in the main, along with a couple that fail to make much headway and some that could have gone in a different direction, maybe to produce better results. Either way, it’s an interesting album and one that’s definitely worth hearing in memory of Virgil. The cover is by Virgil’s daughter Zuni and very striking it is too.
In all my years I had never, until tonight that is, seen a show at the famous BuxtonOpera House. Designed by noted architect Frank Matcham, a noted theatre designer whose work is known in many fine theatres like the Hackney Empire and the London Palladium, among others. The Opera House opened in 1903 and was subsequently renovated in the late 1970’s. It is a notably ornate building and is small inside, a capacity of 901 seats across its 4 levels making this a fairly intimate setting in which to witness such a distinguished artists that play here.
Steve Hackett’s latest tour is based around the celebration of the 50th anniversary of the release of the classic 1972 Genesis album ‘Foxtrot’, which is known as one of the defining albums from the so called big six (Genesis, Yes, ELP, King Crimson, VDGG and Pink Floyd). This record is probably one of Genesis’ most famous releases and includes the classic Supper’s Ready. However, before we celebrate that achievement, we are sweetened by a wonderfully accomplished first set of Steve’s own songs, drawn from several of his solo albums, from ‘Voyage Of The Acolyte’ through to ‘The Surrender Of Silence’.
What a set this turns out to be! In this first part of the show we are rewarded with jaw dropping takes of Ace Of Wands, Every Dayand Camino Royale among others. Again, Steve and his band rise to the challenge admirably, especially noteworthy are the ever graceful keyboards of Roger King and the woodwinds of Rob Townsend. For most of this part of the show singer Nad Sylvan is absent, appearing only for TheDevil’s Cathedral and Every Day. The song A Tower Struck Down includes a bass solo from Jonas Reingold, which was certainly different as you don’t hear many of those these days!
The evergreen Shadow of the Hierophant also makes a welcome return, although this was mainly the closing section only although, to be fair, it does prove just what a talented troupe Steve leads. This mainly instrumental set also allows Steve lots of room for his elegant lyrical, eloquent soloing. Steve soars in these pieces proving, once again, that at 72 years of age, like a good wine, every year he continues to age gracefully and with a robust and often surprising bouquet. This first half ends to rapture applause and a break is taken before the main event.
Now, the concept of playing a classic album in full is not a new one, Yes, for instance, have been doing their classic albums in sequence since the early 2000’s but Steve has only being doing it for the past few tours, Covid excluded, and this time it’s ‘Foxtrot at Fifty’.
This part begins with a storming take of Watcher Of The Skies, which allows Nad’s theatrical side to emerge, and it does dramatically as he wears red flashing glasses to emphasise the sombre message of the words. Now, here’s an admission for you, until tonight I’d never heard all of ‘Foxtrot’! Yes, I knew bits but to hear it performed in sequence by this extremely talented ensemble makes me want to buy the album for myself, I will certainly rectify that omission on my part. The second track, TimeTable, is new to me but what a fine song it is, very clever, it’s about Knights of old and it’s a real corker, as is Get ‘Em Out By Friday, a song about social housing and unscrupulous landlords and their tactics. Recorded in 1972, this song still sounds true today, as do the issues it speaks of. Genesis were ahead of their time and spoke about issues that concerned them, they had a good sense of the absurdities of life.
Can-Utility and the Coastliners follows, outlining the tale of King Canute and his attempts to stop the waves. Interestingly Knutsford in Cheshire tells a similar story as Canute gave his name to the town and its river crossing, although his name was anglicised to Knutsford rather than Canute’s Ford. We are then treated to a long-time Hackett favourite, Horizons, which sees Steve switching to a rather expensive and exquisite classical guitar for a flamenco influenced rethought of this short instrumental.
Then it’s the main highlight for many, Suppers Ready ,a six part suite of songs that have been highly regarded for many years. The song has a multitude of themes including social security, narcissism and words from the book of revelation in the bible. Performed tonight, it is an utter triumph and, again, it starts to make sense to me at last.
This ends the main show but we get two more songs as an encore, the always fabulous favourite Firth Of Fifth, and this features Steve’s brother John, who plays the flute soloing place of Rob Townsend, and excellent he is too. Roger King’s epic piano lines are superb, as is that fabulous guitar solo from Steve, although he does fluff the last note and looks crestfallen for doing so, although, to be fair no one minded. The final track is a medley of Myopia/Slogans/ Los Endos which sends everyone home happy and satisfied with a very special evening of great music in a truly unique setting. Personally, I await the already planned document of this tour that will probably emerge next year at some stage.
Derek Sherinian is very much a keyboard player of the new millennium. Born in California in Laguna Beach in 1966, he has worked with many of the world’s finest progressive and metal groups, either as a member or a touring musician. His latest venture being with the progressive metal super group Sons Of Apollo, where, alongside Mike Portnoy, Billy Sheehan, Ron ‘Bumblefoot’ Thal and Jeff Scott Soto, they offer a very sophisticated and earnest progressive metal sound.
Alongside this activity Derek is also a solo artist has produced no less than nine solo albums of which this one, ‘Vortex’, is the latest. Unusually, he likes to play off against some of rock’s finest guitarists as he enjoys the challenge this offers, plus he is a big fan of guitars and their exponents!
This means that his albums have featured many of rocks finest six string heroes, including Zakk Wylde, Steve Vai and Joe Bonamassa, amongst others. This album continues that tradition with the prowess of Zakk Wylde and Joe Bonamassa appearing once more, along with Steve Lukather of Toto, Nuno Bettencourt of Extreme and the legendary Michael Schenker, the album also features RonBumblefoot Thal and noted jazz guitarist Mike Stern. Also present are TonyFranklin on bass and Simon Phillips, who not only provides the drums but also produced the album with Derek.
So we have a stellar line of talent, but is it any good you ask?
Well the answer is a resounding yes! It’s a very fine album with lots of exciting solos and performances, the only downside for me is that, good as these players are, the lack of vocals means this can be seen as very high class muzak at times as it is an intense listen and not something that you can play in the background really. It requires active listening to really get the most out of it all, well, in my opinion anyway!
The album opens with the strong track The Vortexwhich has Steve Stevens of Billy Idol fame providing some fiery guitar tones and lines. Derek’s music is often jazz/fusion in style and tone, as he feels that it allows him freedom to express himself. Opening with a torrent of synthesisers and some hard hitting drumming, this is a ferocious, attacking number with a strong melody that allows the guitar to break through at points, especially for the solo. It’s all very rhythmically driven and is a good opener really, but it does set the stall for much that follows. While there is little doubt of the quality of the musicianship, for this listener, it really does call for some vocals that could enhance what is already on offer and allow the solos to be as appraiser rather than a continuous cycle. Fire Horse follows and features NunoBettancourt (Extreme) who shreds freely over the track but, again, while his playing is fluid and impressive, I feel it is all showmanship without a ‘proper’ song to support it. To me, you could say it feels a little empty, all very worthy but really needs to be in support of, rather than being, the main attraction.
Third track The Scorpion fares better featuring Derek’s very Keith Emerson like piano to fine effect, along with some fabulous bass work from Ric Fierabracci, who plays some great fretted and fretless bass lines. Also noteworthy is the track SevenSeas with Steve Stevens again and also, who provides sterling bass work. This is a real monster with great playing and very fluid guitar lines from Stevens, who again proves himself to be a formidable player who can shred with the best of them, a really impressive track.
Key Lime Blues features both Joe Bonamassa and Steve Lukather trading licks in a really funky sounding number similar to Bonamassa’s Rock Candy Funk Party sound and excursions of previous years. Again, this is a launching pad for wild solos from all concerned but it sure does sound good. There is also a superborgan part from Sherinian which adds to the track significantly. Die Cobra features the unusual combination of Zakk Wylde and Michael Schenker playing and trading guitar riffs, lines and fills. It is quite a thunderous track with an aggressive sound before slowing to a more melodious section where you hear some typical Schenker tones and sequences that wouldn’t sound out of place on an early MSG album. The track then reverts back to the harder edge initial sound. These two work well together which, when you consider it was all done remotely, is very impressive sounding indeed! It also has a touch of the middle east to it, not unlike Gates of Babylon by Rainbow, a really strong track all together.
Nomad’s Landis very straight ahead jazz/fusion with noted jazz guitarist Mike Stern shredding his licks all across the track. Again, Derek plays organ very strongly and it sounds like a jazz take of Jon Lord! It’s really strong stuff with a fluid solo from Mike and more organ fills from Derek, this one is another that really impresses, even without vocals. The last track Aurora Australis is also the longest at over eleven minutes and features his Sons of Apollo bandmate Ron ‘Bumblefoot’ Thal. The piece opens with lots of synthesisers and a steady Simon Phillips‘ drumbeat before more Hammond Organ from Derek. All hell then breaks loose with more wild keyboards and a solo synth line from Derek, all whilethe track is gathering speed and pace for a guitar and keyboard battle between Derek and Ron. This has real urgency to it and sounds utterly amazing, musicians at the top of their game reaching for new heights and actually reaching them too.
All in all it’s a great album, you can feel the chemistry that Derek Sherinian has with all the guests and it’s great to hear and experience in this way. I still think vocals would raise the album to even greater heights but, then again, that’s just my opinion! It’s still a very good album that’s well worth listening to.
“Time crawls when we are very young; the older we grow, the more it hastens. If you’re living out a normal span of years, you know this to be true. “Where did the years go,” remarks the elder for whom the long night draws near. “It seems like just yesterday…”
“But what of the man who lives beyond his years, who finds he cannot die? Does time fly by at ever accelerating speeds? I am asked this often, for I have passed my thousandth year upon the wretched earth, most of it wandering cursed Andorath for a dream I once cherished but lost.“
‘At The Gate’, is the third album of the Skallagrim trilogy. This new album follows ‘Dreaming City’ (2020) and ‘Skallagrim – Into The Breach’ (2021), bringing the story of the ‘thief with the screaming sword’ to its conclusion.
Vocalist Hannah Pyror is back to front the group and is joined by bandleader SteveBabb, keyboardist Fred Schendel, and drummer Aaron Raulston. In addition, vocalists Jon Davison (Yes) and John Beagley (Life In Digital) both contribute, as well as guitarist Reese Boyd.
Steve Babb says, “For those who love our newer, edgier sound, they won’t be disappointed. But I’ve brought back the pipe organ, the choirs, and the sweeping ballads for those who miss the sounds of our earlier albums.“
For those fans of fantasy literature, like myself, this new Sword & Sorcery storyline that began with 2020’s ‘Dreaming City’, and the excellent music that accompanied it has really hit the mark and has seen Glass Hammer reach new heights and become even more popular and venerated than before.
I have always been very lucky in that I get to hear the albums before most people and every time I am even more impressed with the creativity and musicianship that these US prog rock titans deliver. Well, to quote Michael Caine, with ‘At The Gate’ they’ve only gone and blown the bloody doors off!
“Lonely years roll by, Leaves me wondering, Don’t ask me why…”
The final part of the Skallagrim trilogy is wide screen music at its most impressive, opener, the ballad The Years Roll By, does see a return to the band’s earlier, classic progressive rock, style but beefed up with added layers of sophistication and skill. It immediately puts a smile on my face as soon as I hear the ever so stylish organ intro and Hannah Pryor’s voice is just magical. To hear Steve channelling his inner ChrisSquire again is just a joy to these ears too and the guitar sound is just utterly compelling, giving the track a wonderfully symphonic style.
“There is a road, Hidden well but search, You may find it, There is a gate at the end, And only time can unlock it…”
Savage is just that, a slow burning, ominous opening is blown apart by a huge riff and Hannah’s voice takes on a darkly delicious tone. The symphonic moves aside for pure hard rock with a Led Zeppelin edge, the intricate guitar and keyboard parts are so precise that they make me smile and Aaron Raulston shows he’s lost none of his skill behind the drum kit. The musicianship on display is just dazzling but it’s that hard-edged, fuzzy riff that gets me every time, what a superb track this is!
“Lirazel! I found her name in a song, the melody of which cured me of all forgetfulness. Lirazel! They took you from me and hid you away, but the memory of love will not—cannot die.”
let’s go all 80’s and electronic shall we? North Of North is a really chilled and laid back instrumental that has a feel of Tangerine Dream to its wistful synthesised notes and I am a total sucker for a bit of old school electronica. You feel yourself getting lost in its pulsing rhythm before Fred lets loose with some super stylised keyboard licks, backed by some vibrant guitar and drums. This track is as uber-cool as they come.
“There’s gonna be hell to pay, When all is said and done, So many years have come and gone, And now I’m left with none…”
Prepare for a monumentally heavy aural assault as the blues-rock intro of All Alone makes way for the heaviest riff on the album, what an absolute beast of a song. Imagine King’s X and Metallica getting together for an anything goes jam and you won’t be far wrong, this track absolutely rocks and rocks hard. You can just imagine the band having the time of their life on this and it would be an absolute monster live, Hannah’s vocals once again giving substance to the down and dirty music. Creativity and songwriting prowess are both at an absolute zenith on this album!
Fred Schendel, Hannah Pryor, Steve Babb, Aaron Raulston
“You know where to find her, You know where to start, But only fools would go down, To the mountains heart…”
That ever so stylish hard rock feel continues with the funky grooves of All For Love, another edgy riff and some crunching bass lines from Steve adding some shadowy grunge to proceedings. The distorted guitar solo is a clever addition, as is Fred’s excellent, Deep Purple inspired, keyboard blast. It’s a hell for leather rollercoaster ride of immense proportions.
“I kinda thought this would be done soon, But I was born beneath a black moon…”
Snowblind Girl powers into focus on another thundering riff, the lengthy opening grabbing your attention before Hannah’s vocal begins, strident and demanding. There’s more a feel of symphonic metal to this song but it’s still bombastic and mightily heavy. Another verdant solo brings a smile to my face once again as these consummate musicians deliver yet another memorable track, the instrumental interplay is just jaw-droppingly good!
“Zagzagel, Here, the sorcerous city is buried now, Beneath a frozen lake For the king did justly curse it…”
Discordant and chaotic, the jarring opening to Standing At The Gate(Of Zagzagel) instantly grabs your attention, the crashing guitar chords and keyboards almost fighting each other for supremacy. Hannah’s authoritarian vocal delivers each line in a clipped manner before things calm down a bit for the memorable chorus,
“He’s standing at the gate, He’s pounding at the gate, Of dread, and now it opens.”
The guitar solo that follows is one of the best, flowing beautifully and full of passion and emotion in every single note and the song closes out with Hannah’s voice repeating the chorus as it fades into the background.
“There’s no life without you, There’s no life, If I walk this life alone, If I never find a home…”
In The Shadows sees the start of the final chapter in the album and the story and is also a complete sea change from the bombast and heaviness of most of what has gone before. It is an utterly captivating, ethereal track led by a gentle piano and Hannah’s haunting, sublime vocal. A wistful, melancholic song that bleeds sentiment through every note, the contemplative, almost mournful, music really gets you in your very soul and leaves you with a feeling of regret. The extended instrumental section is genius, utterly captivating and brings time to a standstill as it holds you in its thrall.
“Forgotten joy, the feel of sunshine, touch of summer sun, Don’t you know, my love…”
The album closes with the uplifting joy and charm of It’s Love, a fantastically inspirational song that sees Glass Hammer returning, once again, to the symphonic, orchestral prog for which they were well know. It is a perfectly constructed track, almost Queen-like (just check out that guitar!), that brings this mighty tale to a wonderful close.
Melodic, symphonic and, at times, monumentally heavy, ‘At The Gate’ is a superb, majestic leviathan of an album that enhances the band’s legacy as masters of the genre. This final instalment in the impressive trilogy brings things to a triumphant and proudly pompous conclusion, this is Glass Hammer at their finest, hugely expressive and sonically brilliant.
UK Prog-rock wizards, Gandalf’s Fist, have today announced details of their 8thfull-length album, Widdershins, and have begun pre-orders on the title. The release marks their first full album following the hugely acclaimed 5-disc Clockwork Saga and is again a conceptual work, this time a collection of individually crafted songs, exploring the superstitious nature of human existence.
Gandalf’s Fist front man/guitarist, Dean Marsh, commented:
“We’re immensely proud of this album! It contains all the elements that make this band unique along with a fantastic collection of killer riffs, our best vocals yet and the longest song we’ve ever recorded! We really think this album captures the tone and feel of those ‘epic’ albums of the 70’s and 80’s and certainly allows fans, both old and new, to see this band firing on all cylinders!”
The album, which can be pre-ordered at www.gandalfsfist.com/widdershins is available at a special discounted rate on digipak, as part of Limited T-Shirt bundles and a special deluxe collectors’ box during this pre-order phase.
