Tag: Roy Hunter

Review – Dream The Electric Sleep – The Giants’ Newground – by Roy Hunter

I think this is a strange one!! It was written and recorded back in 2008 before the band was even formed… It pre-dates all of the other three releases from these Kentuckian souls, before they had even chosen the band name!!

The 16 songs are shortish (for a proggy album) with The Stage being the longest track at 7 minutes 18 seconds just… However, despite their collective shortness, Matt Page and Joey Water’s efforts show the promise that has been realised and recorded in their later releases!!

The sounds? From a light picky start, the 1st track Home swiftly develops into a post rock song of surprising quality. Only a short track though @ 2:42, It left me wanting to hear much more from the duo…

Track 2, We Smell The Blood, a more sedate number with some heavy guitar work – good song but hard to pick out the words at times – that post rock fuzz builds up!! From around 3 and a half minutes though everything calms down again to some ethereal guitar picking…

Track 3 Father Francis – a melodic song, Matt’s vocal range brought right to the fore here.

Track 4 reminds me of some Oasis songs – Ok if you like them I suppose… Come to think of it, the whole album shows some influence from the Gallagher brothers???  On repeated listening, one can pick out influences from other sources – Muse, early Anathema, to name just two…

Overall, I liked this prequel album, it justified my purchase of their earlier (later) publications. Matt has a fine voice and his song writing talent is in no doubt. The guitar work is excellent throughout the album too – the gentle track 7, One Last Fix proves my point.

Halfway through the album at track 8, It Will All Be Over Soon you hope it won’t! The River Current is a light and wistful song (a Dylan influence?) which balances a lot of the heavier music heard earlier. Track 11 Sounds Like Magic is a pure Oasis clone with a better guitar lick now and again.

Acoustic guitar over a mushy radio broadcast reminiscent of some Roger Waters work for #12, and then that excellent guitar jolts one back to the real world for Soulful which, for me, has the best vocal work of the album… I’ll not forget the phrase – Apostle of Hypocrisy – I’m gonna use that in my own writing I think! By far the best track on this album.

The last 3 songs deliver more of the same – high quality musicianship leavened with some thought provoking lyrics…

Buy it – there is much to cherish here!

Released 18th May 2018

Order the album from Amazon here

 

Review – Yes – Fly From Here: Return Trip (Actually by “Yes – The Drama Line-Up”) – by Roy Hunter

I’ve been a fan of Yes (in it’s many guises) since I bought their 1st album back in 1969… I discovered King Crimson at The Rolling Stones’ “free in the park” concert, July 5th 1969 – and avidly sought out any music in this new as yet unidentified genre we now lovingly call “Prog”… So the ‘Yes Album‘ (the black cover) was maybe my third or fourth proggy purchase…

Oh what a joy, nearly 50 years on, to get my hands on this “new” release from one of my much-loved bands!

So what do we get here? A revamp of the 2011 release – the much maligned “Fly From Here” issue – the one with Canadian Benoît David as lead singer. I’m not reviewing THAT album per se, but obviously one can’t help compare it with this new release.

‘Fly From Here: Return Trip’ – sees the return of Trevor Horn as lead vocalist. No, his voice doesn’t have the range of Jon Anderson, Benoît David or Jon Davison, but as he wrote most of the material, I defy anybody to say he shouldn’t be the lead singer on this album! He does a creditable job, you can hear every word, and the differences in the production actually make this the better album in my opinion.

The fact that Chris Squire (R.I.P) is a feature of this line-up brings a sense of continuity from that far off ’69 Yes album… And of course the much admired (and often denigrated) “Drama” album of 1980… This re-release of “Fly…” is almost like a Drama, part II

There has been some tweaking of the tunes here and there, the production has shortened some by a few seconds, and if you listen closely you’ll pick out the changed/upgraded moments throughout the “Fly…” suite.

Also included on the album is an extra track, but the highlight for me is the doubling in length of the piece called Hour Of Need… Originally 3 minutes 7 seconds, thin voiced and low production has metamorphosed into a full-on prog track of 6 minutes 44 seconds!! Once the vocal part concludes we get Steve Howe in a display of just how great a musician he is! Brilliant, and it makes the second half of the album march on… literally!!

The extra track?? Don’t Take No For An Answer… It is a good bonus track, but some weakness in the vocal does show up here. Am I being super critical? I don’t think so, as the tune itself is so much better than a lot of pulp we get thrown at us these days.

In conclusion, of the 2 albums, this is the superior release, and I would have bought it, in my hour of need, for the re-vamped Hour Of Need.

That aside, it is a completist’s delight!

Released 25th March 2018

Order ‘Fly From Here: Return Trip here

See Yes on BBC Breakfast:

Review – Kaipa – Children of the Sounds – by Roy Hunter

Legendary Swedish progressive rockers Kaipa, led by mastermind Hans Lundin, have announced the release of their new studio album ‘Children of the Sounds’ for 22nd September 2017. The band’s 13th album, and 8th since the act were reborn in 2002, this album features the line-up of Lundin, accompanied by Per Nilsson (Scar Symmetry), Morgan Ågren (Karmakanic), Jonas Reingold (The Flower Kings, Karmakanic), Patrik Lundström (Ritual) & Aleena Gibson, plus a guest appearance from violinist Elin Rubinsztein.

This album is a thing of great beauty, and if you know the extended catalogue of the band, it sits right at the top!! Since Per Nilsson replaced Roine Stolt from the 2007 album ‘Angling Feelings’, there has been subtle change to the style of music. Always melodic, with great interplay between Nilsson’s sometimes frenetic guitar, Reingold’s bass and Lundin’s keys.

Just 5 tracks on here, the opening title track, Children Of The Sounds, sets off with swapped female/male vocal leads interspersed with Nilsson’s piquant guitar floating over all. The rhythm section drive the music along for 11 minutes, and not one minute of this is filler. Aleena Gibson’s voice is an acquired taste I’ll admit, but I can’t imagine anybody else singing her parts!

Track 2 is a 17 minute epic composition that builds right from the off. On The Edge of New Horizons is a lovely long-form work that Kaipa is noted for. Just when you think it is over, Lundin brings in a new melody or revamps an earlier one. Excellent.

The 3rd track Like A Serpentine does what it says on the tin. Beautiful melodies again and great vocal harmonies, Lundin himself taking the lead. Nilsson excels yet again!! The rhythm section to be so understated carries the tune along very sweetly. The violin places yet another layer overall.

The Shadowy Sunlight, track 4, is the shortest at just under 7 minutes. Beautiful folky violin with some fascinating guitar/keyboards interplay here. Multiple key-changes as the tune ascends to a heady climax – the subtle shift from minor to major really awaken a longing for resolution and finally Nilsson delivers! But I wonder why it finished so soon?

The last track What’s Behind The Fields, opens with a feeling of déjà vu… Have we heard this before? Indeed the track develops into a showcase for all the great features of this band:- harmony vocals and instrumental wizardry of the highest calibre!!

Released 22nd September 2017

Buy ‘Children of the Sounds’ from InsideOut