Norwegian Rock outfit LEPROUS have introduced a new single entitled “The Silent Revelation” off their upcoming studio album “Aphelion”, out August 27th, 2021 worldwide via InsideOutMusic.
Check out “The Silent Revelation” in a video clip directed by Tobias Hole Aasgaarden / South Coast Creative here:
Following up on 2019’s highly acclaimed “Pitfalls” album, LEPROUS recorded “Aphelion” throughout the last year at three different studios: Ghost Ward Studios in Sweden, Ocean Sound Recordings in Norway and Cederberg Studios in Norway. The album was once again mixed by Adam Noble (Placebo, Biffy Clyro, Nothing But Thieves, etc.), mastered by Robin Schmidt (The 1975, Placebo, The Gaslight Anthem, etc.) and its front cover artwork was designed by Elena Sihida, based on photography by Øystein Aspelund.
The album’s track-listing reads as follows:
LEPROUS – “Aphelion” (56:06)
1. Running Low
2. Out Of Here
3. Silhouette
4. All The Moments
5. Have You Ever?
6. The Silent Revelation
7. The Shadow Side
8. On Hold
9. Castaway Angels
10. Nighttime Disguise
Next to the Jewelcase CD and Digital Album versions, “Aphelion” will also be available as limited edition Mediabook CD (with expanded booklet) and as Gatefold 2LP+CD with two bonus tracks: 11. A Prophecy To Trust and 12. Acquired Taste (Live 2021).
The album’s 180g 2LP vinyl version, which comes in Gatefold packaging and with the entire album on CD as bonus, is available in the following variants and limited editions:
Black 2LP+CD – Unlimited
Ultra Clear 2LP+CD – 500x copies via IOM Webshop & CM Distro
Bright Gold 2LP+CD – 200x copies via JPC
Transparent Light Blue 2LP+CD – 200x copies via EMP
Creamy White 2LP+CD – 400x copies via O-Merch
Deep Blood Red 2LP+CD – 200x copies via Band
You can pre-order “Aphelion” in its various formats here:
https://leprousband.lnk.to/Aphelion
Here is a list of upcoming live appearances by LEPROUS:
LEPROUS – 20th Anniversary European Tour
01.12.2021 Oslo (Norway) – Vulkan Arena
03.12.2021 Nijmegen (The Netherlands) – Doornroosje
04.12.2021 London (UK) – Electric Ballroom
05.12.2021 Paris (France) – Elysee Montmartre
06.12.2021 Aschaffenburg (Germany) – Colos-Saal
07.12.2021 Vienna (Austria) – Arena
08.12.2021 Esch (Luxembourg) – Rockhal
09.12.2021 Lyon (France) – Ninkasi Kao
10.12.2021 Barcelona (Spain) – Apolo 1
11.12.2021 Madrid (Spain) – LAB
13.12.2021 Milan (Italy) – Live Club
14.12.2021 Aarau (Switzerland) – KiFF
15.12.2021 Munich (Germany) – Technikum
16.12.2021 Berlin (Germany) – Columbia Theater
LEPROUS – Live 2022:
17.06.2022 Clisson (France) – Hellfest 25.06.2022 Valkenburg (The Netherlands) – Midsummer Prog Festival 16.07.2022 Cremona (Italy) – Luppolo In Rock 20.08.2022 Bristol (UK) – ArcTanGent Festival
More shows to be announced soon…
Stay tuned for more news on LEPROUS and “Aphelion” coming soon…
LEPROUS line-up: (From left to right on photo by Elena Sihida) Robin Ognedal – guitars
Tor Oddmund Suhrke – guitars Baard Kolstad – drums Einar Solberg – vocals/keys Simen Børven – bass
The British folk-jazz band, The Pentangle has signed a four-album deal with music label, Renaissance Records. Renaissance Records will be re-issuing albums The Pentangle, Basket Of Light, Cruel Sister and Pentangling onto deluxe package heavyweight vinyl. This will be the first time these albums have been issued onto vinyl in the United States since their initial releases in the late 1960’s to early 1970’s.
This folk-rock supergroup started out in 1967 under the original line-up of Jacqui McShee (vocals), John Renbourn (vocals and guitar), Bert Jansch (vocals and guitar), Danny Thompson (double bass), and Terry Cox (drums). Their sound is an eclectic mix of folk, jazz, blues, and folk rock influences that gives them their one of a kind sound. Their debut album, The Pentangle, is known for creating an innovative approach to recording acoustic guitars to deliver a very bright “bell like” sound.
The Pentangle’s third full length studio album, Basket of Light was released in 1969 and received commercial success. The song, ‘Light Flight’ became a popular hit single after it was placed as the theme song for the television series, Take Three Girls. The album placed at #5 on the charts and would be the peak of The Pentangle’s long career.
Renaissance Records will start with the release of their debut album, The Pentangle, Basket of Light and Cruel Sister onto deluxe 180g gram vinyl in late August of 2021. The remaining greatest hits album, Pentangling will be released in September of 2021. These albums will include extra incentives such as trading cards of the original band members, lyric sheets, lost photos, and more when you purchase them exclusively with Renaissance Records.
The Pentangle, Basket of Light, Cruel Sister, and Pentangling are available now for pre-order from
renaissancerecordsus.com
‘The Pentangle’ Track List
1. Let No Man Steal Your Thyme
2. Bells
3. Hear My Call
4. Pentangling
5. Mirage
6. Way Behind The Sun
7. Bruton Town
8. Waltz
‘Basket of Light’ Track List
1. Light Flight (Theme from ‘Take Three Girls’)
2. Once I Had A Sweetheart
3. Springtime Promises
4. Lyke-Wake Dirge
5. Train Song
6. Hunting Song
7. Sally Go Round The Roses
8. The Cuckoo
9. House Carpenter
‘Cruel Sister’ Track List
1. A Maid That’s Deep In Love
2. When I Was In My Prime
3. Lord Franklin
4. Cruel Sister
5. Jack Orion
‘Pentangling’ Track List
1. I’ve Got A Feeling
2. Helping Hand
3. Pentangling
4. When I Get Home
5. Rain And Snow
6. Lyke Wake Dirge
7. The Trees They Do Grow
8. A Maid That’s In Love
9. Once I Had A Sweetheart
Pentangle EPK
The Pentangle was formed in 1967 by John Renbourn and Bert Jansch, two guitarists who had both already recorded as solo artists since 1965. The duo was later joined by Jacqui Mcshee on vocals, Danny Thompson on double bass, and Terry Cox on drums and percussion. The Pentangle played a mixture of Jazz and Folk with Blues-elements, influences that the band integrated in their debut record ‘The Pentangle’. In 1969 they released their masterpiece Basket of Light, a commercial success including the single ‘Light Flight’ which served as the theme song to the UK television series ‘Take Three Girls’.
About Renaissance Records
Founded in 1993 by former Aerospace Engineer John W. Edwards who had a passion for music and a new idea to form a recording label. He focused on the reissuing of classic rock and classic country LPs on CD for the first time. Renaissance Records soon signed licensing deals with EMI-Capitol, Sony Music, Universal Music Group, and BMG/RCA/Arista. The record label has released recordings from artists such as Blue Oyster Cult, Crack The Sky, Girlschool, Roxy Music, Bob Welch, and Electric Light Orchestra Part II.
Released in March this year, following up the duo of Rory Holl and Simon Elvins self-titled debut from October 2017, with the additional guitar work of Luke Stephen Smith, their second album, ‘Rampjaar’, sees the band expanding their sound and style.
Stripping the sound back from the guitar heavy debut, this evolution of sound incorporates far more electronics and much longer songs that allow the atmospheric and moody sounds to grow and develop organically.
Starting with the electronic sounds and heavily synths of Heart of Earth, the great use of electronic textures and moody synth sounds and the mix of the electronic undertones and organic vocals works perfectly to create an atmospheric and ambient introduction to the album and shows how far the band have come since their debut release.
In Ahab’s Nightmare sees the guitars kick back in with a sublime heavy riff and lyrics inspired by the book Moby Dick. The song is narrated from Captain Ahab’s point of view and, like a lot of the songs on this album, has some very catchy lyrics and inspired musical sounds that help the song mesh and build as it grows.
The intensity of the music married to some great lyrics makes this an incredibly strong album, there are so many musical layers running through this album that you need to give it several listens before it reveals all it’s mysteries and, even then, you’ll get something different from each track as you delve deeper.
The heavier textured electronic sounds work really well in tandem with the duo’s songwriting, none more so than on the seven minute plus Sleeping in The River. Complex drum rhythms and synth sounds help build it towards it’s mighty conclusion and it just keeps pulling out magical music stops, from a heavy electronic riff where you’d expect the guitar to be to a synth solo straight out of the BBC Radiophonic workshop. This sounds like the bastard child of 90’s Depeche Mode and Nine Inch Nails and the vocals are magnificent throughout, with choral effects mingled with synths bringing the song to its epic finish.
There is a sense of ‘less is more’ throughout this album, where the sparse electronics give room for the songs to grow and, by paring back the sound, it is strikingly different to other albums released this year and it works, allowing the vocals to take centre stage. This an assured and mature second album that really builds on the foundations that their debut laid down. The songwriting and use of effects and textured samples really enhance tracks like the beautiful piano driven The Wisp, which is a haunting and emotive piece of music.
The album closes with the longest track, Looking Down At The Moon, a complex epic that combines the best parts of the band’s albums so far. A gentle guitar riff suddenly builds into a mighty musical explosion, reminding me of singer songwriters like Ed Harcourt or Tom McCrae, along with heart on the sleeve lyrics mixed with complex and intricate musical undercurrents. The shimmering guitar solo on here is worth the price of admission alone as the song just builds and builds to a dramatic and satisfying musical conclusion, the guitar ripping through the music, shredding and driving the song on, this is the absolute definition of a slow build!
There is no bad track on this album and the way each one weaves and flows into the other marks this as an album that needs to be listened and absorbed as its creators intended. A definite ‘headphone’ album where you can appreciate the sonic majesty on show here.
With some of the mighty sounds, intricate musical pieces and dynamic performances, it’s hard to imagine this is the work of a duo and that is what makes Arc of Triumph so good. This is a fantastic follow up to an almighty debut and one that sees the band grow and develop and is an album you have to hear. I think this is definitely one of the standout releases of 2021 and one I keep revisiting and getting something different from it each time.
Steve Howe is certainly prolific, in the last few years he has released records with his sons Virgil and Dylan and released a new solo album, all along with a live Yes album, ‘The Royal Affair’, and also has a new Yes studio album due for release in October (marking the band’s first new material since the death of Chris Squire).
This new release by Steve of his solo recordings or sketches, ‘Homebrew 7’, is a most welcome set. What is different to his previous ‘Homebrew’ releases is that, this time, all of these pieces have not been written for any of his other projects, like Asia or Yes. The album is a mix of styles and sounds, taking several directions, along with several vocal tracks. Now, while Steve doesn’t claim to be a singer, he is more than okay on these tracks and his guitar skills continue to shine. It is good to hear that Steve continues to create new music regularly and that he is not content to retire or withdraw from musical life or activity just yet. This music shows that he still has a fire and a passion for his creativity to continue unabated for a while yet at least, in an era of ageing rock stars this is a joy to see and hear.
The highlights of this album are many and varied, most of the tracks are really musical sketches or frameworks, ready for further input or completion, let’s have a quick trawl and see what lurks within these pieces…
The album begins with a short piece called The Glider which offers a chance for Steve to show his proficiency on steel guitar, armed with a GS10 processing effect unit to give his guitar a soaring tone to it, all very simple but all very effective and pleasant. Like much of this album, these pieces do not overstay their welcome at all. Steve is from the ‘less is more’ school of guitarists and he does not overplay or over complicate matters at all. In an age where many guitarists are shredders, this makes a welcome and refreshing change.Steve could probably do all that and more but, here, his wisdom and restraint pay real dividends.
Octoberfollows and sounds like something from the George Winston/Windham Hill album which is no bad thing at all. This is a briefly orchestrated piece and sublime sounding it is too. Next up is the first Vocal Track Half Way, with Phil Spalding on bass. This is quite a surging rock song with a chugging riff and chiming guitar line in amongst everything that is going on. With nice brief solos accompanying the vocals, it’s a great little number that is really fiery and the end is sudden and final. This in itself is brave in not having any long run out or fade and is highly effective. The Only One is next and offers a bluesy swing, again, another highly effective interlude. Sadly this piece is way to short, it would have been good to hear Steve wail over this track a lot more. In One Life follows and this piece dates back to 1982 and is a simple piece in a similar vein to Muskrat.
Outstanding Deal is the second vocal track. I feel that Steve’s voice may not be really suited to this song but, even so, he gets away with it because the music is brilliant, with a great sounding steel guitar part that elevates the piece and gives it a sense of atmospherics that carry it well. Be Natural is different in that it features Steve’s guitar being powered through a Leslie Speaker which gives a very unique sound, all very clipped and slightly overdriven. This is a neat but effective trick and it sounds great. It’s a short piece but highly effective and interesting. Cold Winds is another older piece from 1983 with some great double tracked guitar lines and includes drums from a 14 year old Dylan Howe. Deanscape is a piece Roger Dean has used on his website for a while. Dating from 1982, much of what was used has been forgotten over the years but, again, this is an atmospheric piece.
Tender Hooks is up next and is an acoustically driven piece with steel guitar lines soaring over the top, it is another fairly simple piece but one that is full of melody and charms. Another vocal song, A Lady She Is, follows and this is a quiet tranquil piece with electric mandolin in a duet with Steve’s Gibson ES175D. This is simply a beautiful piece of music and again highlights Steve’s talents and skill superbly. Two Sided offers Steve chance to play over a choral backing and add his unique steel guitar sounds to a brief piece of music. This is followed by Strange Wayfarer, a jolly little jaunt that has comedic leanings written all over it. It has a simple rhythm and sounds suitable for Children’s TV series played on a Synth effect guitar. It is certainly different and yet somehow still interesting. Devon Girl is another short vocal track. An older track from 1983, it is still a good little number one that could work as a worked piece at some future stage perhaps. Safe Haven features an ascending guitar line with multiple guitars answering each other most effectively. The excellent crunchy guitar line added to proceedings makes this another effective number.
A Matter Of Fact is a fine bluesy number with a strong guitar line making it stand out significantly. Touchstone is a short but highly effective number with some great Telecaster guitar tones and lines in it too. Effective, brief and excellent. From Another Day dates from the ‘The Steve Howe Album’ sessions in 1979 and is the final vocal song. This is a brief song followed by Forgone Conclusion which is another piece with wailing steel guitar sounds. It’svery spacey sounding and a great little piece. Space Void is 70 seconds of synthesizer sounds and noise, like a lost Hawkwind track from 1972! The final track, From The Get-Go, is a song featuring Steve’s favourite Gibson ES175D as the star. With a lovely tone and delightful sound added to a shuffling beat, this closes the album in style.
Well, there you have it. Twenty one straight forward pieces of artistry from a man whose guitar skills have graced many classic prog albums over the years. From ‘Close To The Edge’ to the forthcoming Yes album, ‘The Quest’, from Asia’s debut in 1982 to his own collection of solo and group albums, this man has done it all with style and here he shows the bare bones of his skills in a great set that is a worthy addition to his canon or works. Ladies and Gentlemen, Mr Steve Howe on guitar…
Evership are, if you do not already know, the new face of American Prog, their music is a graceful and enticing mix of lots of classic US Prog and Pomp Rock bands like Kansas, Styx and Starcastle, to name just three. This ,along with their love of European progressive rock like Genesis, Yes, Gentle Giant and PFM (and romantic classical music) makes for a heady mix of sounds and textures.
They are most definitely a band to watch in the next few years. Led by Shane Atkinson (keyboards, drums, vocals, percussion, theremin and sound design) and aided by Beau West (lead vocals), James Atkinson (lead guitar) and John Rose (rhythm, classical, acoustic and lead guitar). They are also supported by Ben Young on bass and a few other friends also lend their talents to this album.
The album takes its inspiration from a book published in 1910 by Harold Bell Wright called ‘The Uncrowned King’, an allegory in the style of John Bunyan’s ‘Pilgrims Progress’ with a story arc that fuses Mark Twain’s‘The Prince and the Pauper’ with Charles Dicken’s‘A Christmas Carol’. The book is about the search for truth and how real truth cannot be found solely with just our five senses. That truth is a more transcendent concept and one must show courage in the pursuit of it and its consequences. This is a two part story, this album is part 1, with part 2 in the pipeline. If you like the works that Neal Morse has offered, like ‘The Great Adventure’ and ‘Similitude Of A Dream’, appeal to you then I suspect that this one will too, as it ploughs a similar furlough in style and meaning.
Unlike Neal’s work, this album merely hints at spirituality rather than making any blatant declarations. This is, I feel, a highly effective tactic as it means the listener must reach his own conclusions about the viewpoints raised in the album. The album touches on religion, but it is not about religion although it does feature throughout.
The album has seven tracks, an epic sixteen minute track, three long tracks around ten minutes long and three shorter tracks. Together, this all lasts for just around sixty minutes and is full of excellent music and songs with quality lyrics. You will need the booklet with you to comprehend and grasp the subtleties of this album to get maximum enjoyment and appreciation of this piece of exquisitely crafted music.
The album opens with The Pilgrimage, which starts with a long instrumental section of about four minutes with lots of keyboards and synths, this is followed by some chunky guitar riffs as vocals are introduced. This is very symphonic sounding prog and very well done indeed. The pilgrimage details the journey the traveller makes from the Desert of Facts to The Temple of Truth and acts as an opener to the tale. Upon reaching the temple the traveller must meet the criteria for entry. The traveller is granted entry to The Quiet Room where he will be visited by four voices, firstly The Voice of The Waves who speaks of The Great That Is, The Uncrowned King and a Magic Crown.
This is followed by Crownshine/Allthetime which relates more of the backstory to the tale and commences with keyboards for one and a half minutes before Beau West starts singing of how the Crown was beautiful, magical and marvellous. All this is aided by some soaring guitar lines, choral voices and what sounds like tubular bells, although it could be played by the the synths of Shane Atkinson, all in all a strong and agreeable opening section.
The Tower follows where the narrative is told in song, of how the two princes in the kingdom wanted more than what they could see. Whilst looking from the tallest tower in the land they could see in the distance another land that looked good to them and so they sought consent from the king to go and discover this land for themselves. As they looked beyond their world to seek out and find new experiences and attractions to satisfy their wanderlust, the two princes, Really-Is and Seemsto-be, are prepared to risk everything.
There is a lot going on in the section with some excellent musicianship and some strong themes, along with lots of information pertaining to the story. We are also introduced to the two princes, Really-Is and Seemsto-be and we are also told of the life they lived, happy in a land where they enjoyed freedom of choices about what they chose to believe and the way they lived by. It also tells us of how they both looked the same and no one could tell them apart, a critical part of the tale as it transpires.
The Voice of The Evening Wind introduces the two princes, their steeds Reality and Appearance and set us up for the adventures they had in the pursuit of what they did not have. This is the paradox at the heart of the tale and how truth can be deceptive, and wisdom can be forgotten and forsaken in foolish quests.
The book on which this tale is based is certainly an interesting and intriguing one, one that, because it is over 200 years old, is not always clear in the points it makes but it is worth looking into. It is a book much loved by Shane and Beau and the video on their website details its impact on them.
This album takes you partway into the tale with the remainder to follow later this year and if it is as good as this one is it too will be very warmly welcomed and received, you really need to listen to it several times to understand, excellent work from all concerned.
20th July 2021: Keyboard legend Tony Kaye announces the release of his debut solo album End Of Innocence, on 10th September 2021 on Spirit Of Unicorn Music (distributed via Cherry Red Records) to mark the 20th anniversary of 9/11.
Having retired from music in 1996, Kaye was moved by the events of 11th September 2001, to commit his thoughts and feelings to a heartfelt personal musical interpretation.
End Of Innocence is a requiem for those who lost their lives and all those touched by the horrific events of 9/11. Primarily orchestral, End Of Innocence is a powerful and emotional suite that is both beautiful and sinister, reflecting the dark forces at work that day. It guides the listener through the day and touches on the response, to reach a hope that peace and calm may prevail.
As did many millions, Kaye watched the horrors of 9/11 unfold on his TV screen. “The next day I unpacked my keyboards for the first time in a long time,” Kaye recalls. “I didn’t know what I was going to do. It was one of those things that happened, inspiration on a musical level.”
The suite begins the night before 9/11 but, as Kaye’s wife Dani Torchia sings an innocent lullaby, menacing storms are gathering. The beautiful 9/11 Overture was the first piece Kaye composed, the following day. “I had no recording equipment, just an 8-track cassette recorder and some of those recordings became what you hear now.” Kaye continues to create vivid images of New York City life and a vibrancy around The World Trade Centre (285 Fulton Street) before the terror begins and captures the fears of those on the planes, Flight 11 depicting the conversations stewardesses had with the tower. The track includes a powerful drum solo by Kaye’s friend Jay Schellen (CIRCA, YES) reflecting the struggles onboard.
Following the collapse of the towers, Dani Torchia sings her lament Sweetest Dreams and the album looks at the Aftermath and the Heroes before focusing on the response. “I wanted it, musically, to be about that day,” Kaye says, “but I felt compelled to extend it to deal with the repercussions of what happened. Musically, it was quite challenging to do the battle scene and then the Hope And Triumph, a patriotic anthem and the consequences of war. Ground Zero is the hope for the future, the rebuilding.” The artwork for the album has been created by Roger Dean, known for his work with YES and ASIA, powerful imagery reflecting the journey the music takes.
End Of InnocenceTrack Listing: 1. Twinkle Twinkle Little Star/Twilight Time
2. 911 Overture
3. NYC Blues
4. Battle Cry
5. 285 Fulton Street
6. Let’s Roll
7. Tug of War
8. Flight 11
9. Towers Fall
10. Sweetest Dreams
11. Aftermath
12. Heroes
13. The Battle
14. Hope and Triumph
15. Homecoming
16. Ground Zero
Produced by Tony Kaye
All tracks composed by Tony Kaye except Sweetest Dreams by Dani Torchia. Tony Kaye, Spirit of Unicorn Music and Cherry Red Records are donating 10% of all profits from End of Innocence to https://www.garysinisefoundation.org/The charity supports veterans, defenders and first responders in times of hardship.
About Tony Kaye Tony Kaye is best known as the original keyboard player with prog legends YES, his Hammond organ giving their ground breaking The YES Album it’s most distinctive sound within the YES catalogue. Following his departure from YES in 1971 Kaye was involved with a number of other bands including David Bowie, Badger and Badfinger before returning to YES for their greatest commercial success 90125 in 1983. Kaye remained with YES for several albums and tours before retiring from the music business in 1996.
Following the re-awakening of his musical inspiration in 2001, Kaye accepted an invitation from current YES bassist Billy Sherwood to work on projects which led to the formation of CIRCA, in 2007, and has yielded four albums to date.
First single and video “The Marauders” unveiled today!
DROTT is comprised of Arve Isdal (Enslaved), Ivar Thormodsæter (Ulver) and Matias Monsen and hails from Bergen in the west coast of Norway. With their varied musical background ranging from metal and jazz to classical music, they create the genre which can only be described as DROTT. Inspired by forces of nature, superstition and spirituality the trio explores light within darkness through their music.
The group, recently established (2020), released their self-titled EP in March 2021 and received great reviews. It established the Drott’s instrumental Progressive Rock sound as a breath of fresh air in the genre! Their first full-length “Orcus” album takes Drott in a new creative and artistic direction. With 10 tracks they dive deeper into sonic, experimental landscapes!
DROTT comment on “The Marauders”:
“The Marauders are not visible through the layers of mist. You can hear them hanging in ropes and sharpening their tools of mischief before their dire intentions are manifested through slow, dark riffs and slaughtering, heavy beats. They are lost souls roaming the Underworld, vicious murderers and thieves constantly searching for prey.”
Watch the video directed by Arve Isdal –
Filmed by Arve Isdal and Cathrine Wespestad
“Orcus” will be available as:
CD Digipack Trifold
12” Black vinyl in Gatefold
12” Gold vinyl in Gatefold – Limited to 100 copies, By Norse Music online stores exclusive
12” Milky Clear w/ Black and Gold Splatter in Gatefold – Limited to 100 copies, By Norse Music online stores exclusive
Digital
Pre-orders are available in the By Norse Music stores:
An extensive collection of rarities and B-sides marking 30 years of the band
This new release marks 30 years since the formation of one of the most enigmatic & aurally captivating bands to grace the dark rock/prog genre, Mnemosyneancontains an extensive collection of all of Katatonia’s rarities and B-sides, including tracks from the band’s numerous EPs, unheard album songs, limited special edition bonuses, cover songs, as well as a series of collaborative remixes.
The journey of Mnemosynean spans the gothic-soaked experimental epic ‘Scarlet Heavens’ recorded all the way back in 1994, through to tracks recorded during the sessions for the stellar 2016 opus, The Fall of Hearts.
The intriguing title of ‘Mnemosynean’ itself represents memories & was selected because tomb inscriptions dating back to 400 BCE say that the dead could keep their memories by avoiding drinking from the Lethe, and drink instead from the stream flowing from the lake of Mnemosyne (the goddess of memory).
Following an early string of deathly doom-inspired releases which firmly & quickly established Katatonia as a leading force in the 1990s underground, the Swedes, led by Jonas Renkse & Anders Nyström, came to true prominence following a transition to a more metallic, sleek, dark & depressive rock style while fully embracing concepts of urban and social decay, but also retaining some of the distinguishing traits from their early repertoire, such as the melancholy-laced & instantly identifiable melodic guitar leads.
2020 saw Katatonia present their eleventh studio opus, the poignant City Burials, to unanimous acclaim.
With a somewhat unforeseen global event transpiring and touring being made impossible, the band still wanted to perform for their fans, so conducted a more intimate “lockdown” show which was streamed live from Studio Grondahl. This show was released as Dead Air in late 2020 and gives fans a full 88-minute set containing 20 tracks from the band’s extensive and illustrious repertoire to date.
The Mnemosynean packaging includes a new band biography courtesy of music journalist Eleanor Goodman, as well as full lyrics plus backgrounds to the track origins described by founding members Anders Nyström and Jonas Renkse, along with other close Katatonia collaborators. The artwork for this release has been created by long-running Katatonia visual artist Travis Smith.
MNEMOSYNEAN will be released through Peaceville on 1st October, on 2 CD, deluxe gatefold triple LP on black vinyl , deluxe gatefold triple LP on white coloured vinyl (available only through the Peaceville label stores and Katatonia band store)and digitally with PRE-ORDERS AVAILABLE HERE
Watch the trailer here:
MNEMOSYNEAN TRACKLISTING (CD split)
DISC 1
1. Vakaren [04:54]
2. Sistere [04:11]
3. Wide Awake In Quietus [04:59]
4. Night Comes Down [04:14]
5. Second [03:32]
6. The Act Of Darkening [05:52]
7. Ashen [04:06]
8. Sold Heart [04:32]
9. Displaced [05:14]
10. Dissolving Bonds [03:41]
11. Unfurl[04:48]
12. Code Against The Code [03:28]
DISC 2
1. Wait Outside [03:38]
2. Sulfur[06:22]
3. March 4 [03:51]
4. O How I Enjoy The Light [02:44]
5. Help Me Disappear [05:13]
6. Fractured [05:52]
7. No Devotion [04:48]
8. Quiet World [04:39]
9. Scarlet Heavens [10:27]
10. In The White (Urban Dub) [05:25]
11. My Twin (Opium Dub Version)[04:15]
12. Soil`s Song (Krister Linder 2012 remix)[04:40]
13. Day And Then The Shade (Frank Default remix) [05:40]
KATATONIA LIVEThe band have confirmed that, all being well, they will be playing extensively throughout 2022, beginning in January and February 2022 with the “Twilight Burials” tour, a 31-date co-headline tour of the UK and Europe with SÓLSTAFIR for 2022!
Which will be followed by a huge run of festivals including Prognosis (NL), Mystic Festival (PL), Hellfest (FR) and Luppolo In Rock (FI). For more details and tickets see www.katatonia.com
‘Common Ground’ is the self-produced new album from Big Big Train on their own label, English Electric Recordings. The new album, recorded during the worldwide pandemic, sees the band continue their tradition of dramatic narratives but also tackles issues much closer to home, such as the Covid lockdowns, the separation of loved ones, the passage of time, deaths of people close to the band and the hope that springs from a new love.
‘Common Ground’ sees the band taking in wider musical and lyrical inspiration from artists such as Elbow, Pete Townshend, Tears For Fears, Elton John and XTC, as well as acknowledging their more progressive roots.
Following the departure of long time members of the band, the core of Big Big Train is now Greg Spawton (bass), David Longdon (lead vocals, flute), Nick D’Virgilio (drums, vocals) and Rikard Sjöblom (guitars, keyboards, vocals). Carly Bryant (keyboards, guitars, vocals), who contributes vocals to ‘Common Ground’, Dave Foster (guitars), who plays on two tracks on the new album and Clare Lindley (violin, vocals) will join the band for the upcoming tour and there will also be the welcome return of a five piece brass ensemble.
After finishing my first listen through of the new album, my first impressions were that, while it is familiar (especially with David Longdon’s distinctive vocals), there is something new and dynamic about it. Like all the best albums, it needs more investigation and listening to, but, to my ears, a subtle reinventing of Big Big Train is afoot!
So, a few days and many, many listens later, how do I feel about ‘Common Ground’ now? Read on and all shall be revealed…
It’s bloody marvellous, basically! I am a long time fan of the band and this is the first album that has really grabbed me and not let me go since the ‘English Electric’ series.
The wondrously upbeat Strangest Times with its brilliant Elton John inspired piano lines (take a bow Rikard Sjöblom) opens the album in fine style. David Longdon is in fine voice, especially on the ever so catchy chorus, and the guitar playing throughout is sublime, I’m left with a huge grin on my face as the track comes to a satisfying close. The track sees David writing about the Covid lockdowns, the separation of loved ones, the passage of time, deaths of people close to the band “After the death of a collaborator Judy Dyble in July 2020, I time spent shielding with an ill relative. With everything that was happening around me and for the world with the relentless doomwatch tone of the news broadcasts, I spoke with Greg. I said I couldn’t just be writing songs about historical figures and scenarios. I felt that I needed to write about the here and now. In ‘The Strangest Times’.”
All The Love That We Can Give is a more laid back affair with a wistful feel to the keyboards and David’s vocal with a deeper tone. There are swathes of contemplative Hammond Organ and the guitar just sits in the background, like a conductor leading the band. Vocal harmonies abound and Greg and Nick prove what a fantastic rhythm session they are and then the track goes off into proper progressive rock territory, full of energy and intricate musicianship, another rather fine song indeed!
When the intro to Black With Ink starts I’m immediately drawn to a comparison with Kim Wilde’sKids In America (wait until you hear it, then it won’t sound so daft!). The edgy keyboards and vocals sound like a call to action and the song just picks up and goes from there, it’s certainly up there with the best upbeat songs that the band have ever recorded. The vocal interplay is excellent and gives a real urgency to the track. If this is part of a new direction for the band then please count me in on the journey. To my ears, things get even better in the second half as a distinctive musical refrain starts to be heard (it’s one that continues to surface throughout the rest of the album too…) and becomes an earworm that you can’t get rid of, and don’t want to actually! Dandelion Clock is a nostalgic and thoughtful song that is dear to Greg’s heart a beautifully written piece of music with David’s vocal at its most plaintive and heartfelt. The chorus is a work of art and the whole track just works its way into your affections. A quite exquisite song that leaves you in a totally reflective and introspective state of mind.
Headwaters is the first of two instrumentals and is Big Big Train at their best when it comes to telling stories without words, a dreamlike, meditative piece that is painstakingly and perfectly created, just beautiful. Then we go to the opposite end of the musical spectrum with the vibrant notes of the energetic and dynamic Apollo. Nick D’Virgilio wanted “…to write the band’s version of Genesis’sLos Endos and to make a track that really showed off the talent of all the amazing musicians in the band.” And, boy, he certainly did that and has created one of the best progressive instrumentals of recent times.
The title track of the album sees the band in anthemic mood, Common Ground is a powerful piece of music, a statement of the state of humanity but delivered in a way that only Big Big Train can. Soaring vocal harmonies, powerful melodies and excellent musicianship create a an energetic and passionate song that grabs your attention and makes you listen and absorb the message within. The guitar and violin interplay is absolutely superb, this is a song that will have the audience at the live shows singing their hearts out, just outstanding!
It wouldn’t be a Big Big Train album if there wasn’t an epic song with a dramatic historical narrative that shows British pastoral progressive rock at its very, very best would it? Well, the band don’t let us down and deliver a transcendent fifteen minutes of heart and soul in the majestic Atlantic Cable. There’ll always be a place for tracks like this in the musical universe, soaring crescendos mix with intricate musical passages to create musical works of art that will always pass the test of time. Take songwriters of consummate skill and musicians at the top of their game and you will end up with superb songs of substance and heart and soul that have meaning and that tell the grandest of stories in the perfect manner.
Endnotes closes the album on an emotive note. Another one of Greg’s favourites (and mine), it is a perfectly composed song with heartfelt vocals from David that just bleed compassion and sentiment. The musical accompaniment is exquisitely elegant and the harmonies just make your heart sing and then, the brass! Oh my god, the hairs just stand up on the back of your neck as the notes sound out, there’s just something about that sound that makes my soul soar and Big Bg Train do it so well. What an incredible end to the album, I don’t mind admitting it has made me quite emotional.
So, there you have it, ‘Common Ground’ is recognisably Big Big Train but a Big Big Train that have moved the game on a little and given us an album of its time. Vibrant and upbeat, thoughtful, wistful and even melancholy at times, it is a collection of amazing songs that will touch you on a basic level and move you on many others. ‘Common Ground’ is the album that will make you fall in love with the band all over again and I can’t give it any higher praise than that!
InsideOutMusic/Sony Music are extremely pleased to announce the signing of progressive rock legends Jethro Tull to the label. The band has already completed a new album titled ‘The Zealot Gene’, which can be expected in early 2022.
Ian Anderson had this to say about the new signing – “After 54 years in the world of music recording, it is with great pleasure that I now sign Jethro Tull to a record company which reminds me, in many ways, of the old Chrysalis label – both as an independent and in its later years in partnership with EMI. Here are real music guys with a passion for the best and most creative in rock music. We look forward to a long and fruitful relationship and more releases to come.”
InsideOutMusic Label Manager Thomas Waber states, “Adding Jethro Tull to the roster is an incredible honour for us. The band are true innovators of the genre and we are looking forward to working with them on their new album. We are sure their countless fans will be as excited about it as we are!”
With more than 30 albums to their credit and sales totaling more than 50 million, Jethro Tull are one of the most successful rock bands of all-time with a catalog that contains classics that still resonate today. Led by Ian Anderson, Tull still continue to tour throughout the world, entertaining audiences of all ages.
The band currently consists of:
Ian Anderson – Flute, acoustic guitar, harmonica, vocals
