Review – Steve Anderson – Journeyman’s Progress Part One – by John Wenlock-Smith

Steve Anderson is one of the founding members of The Room and is also a part of Grey Lady Down and Sphere3, ‘Journeyman’s Progress Part One’ is his first solo album and explores his musical ideas from a completely blank canvas. This release is naturally guitar focused with the instrument taking centre stage but Steve also provides good bass work and keyboard support throughout the whole eleven tracks, which range from acoustic sketches and interludes through to the epic title track.

It all begins with a brief acoustic moment, Solus, which is swiftly followed by Coda which introduces Steve’s electric guitar lines as they slot over a delicate keyboard sound. This is a very melodious sounding track with a strong organ sound that gives way to a more up-tempo section alongside a solid beat, taking the track forward, an exciting part, the pacing steady and well thought through. This allows space for the guitar to stretch out a little which is done in great style. A Glimpse Of Light opens with a gentle acoustic guitar and great playing that delights, as does the sensitive backing supporting and enriching the track. The piece moves along most satisfyingly, it is a good track with lots of imagination at work. Hellebore is an acoustic vignette, almost like a track from the likes of Will Ackerman or similar. This is followed by the further short soundscape of Circlet which is suitably imagined and engaging.

The percussion sounds that open Mr Mekano are contained within angular and jagged riffing which creates an atmosphere of unease. It is certainly a bit darker sounding in tone, a good bass part runs through this track and when the sound breaks out into a harder sounding and jarring rhythmic section, one cannot fail but to be impressed by its sheer musicality that really captures something special. This then morphs into Descent, which definitely has a feel of going down that is conveyed by the music. The tone is almost bleak sounding, well it conveys that feeling to me, and the low bass part adds depth to help reinforce the sentiment. All in all, it is a most impressive track and guitar effects add to the mood. For Nancy is much lighter and was written for Steve’s wife. This piece is both joyful and also beautifully realised, it conveys warmth and contentment and satisfaction in its brief running time. Glass Quartet returns us again to the percussive sounds, similar to clocks but that are actually wine glasses being hit with wooden skewers. The First Step sees Steve getting all ambient and using synths to create a track that could easily be used for a science fiction film, with its nods to Blade Runner and Jean-Michel Jarre really hitting the mark. It is a most interesting track, very well delivered and imaginative in its scope and ambitions. The Title track Journeyman’s Progress concludes the album with its extended ten minute running time that allows space for its many sections to emerge fully, from acoustic to full flights of electric guitar passages, it is a very good track indeed. I especially like the use of counterpoint harmony where the keyboards soar over the main melody and how the build up for the extensive guitar segment is introduced, and subsequently delivered, all with very solid backing. It really is a glorious section of the track, the synths really take this track to great heights, it is most satisfying to hear the degree of craftsmanship that has gone into making this music.

Nothing here overstays it’s welcome in addition the variety of styles and approaches utilised throughout help to create a very solid and engaging sound palette. The whole album is served up in a classy looking package which includes some intriguing artwork from Ruby Anderson and a good logo design that would look equally as fine on a T Shirt. Additionally the album was mixed and mastered by The Tangent’s Andy Tillison (a man who certainly knows how to do these things) exceedingly well and to a very high standard.

‘Journeyman’s Progress Part One’ has many hidden charms and many fine musical passages and, overall, the album has a great flow to it as it moves through its many moods and emotions. The music has some most excellent dynamics that enliven and highlight the excellence of the compositions, I think it a very well realised musical statement and I urge you to check it out for yourself as it’s definitely one worth seeking out!

Released 4th February, 2022.

Order from bandcamp here:

▶︎ Journeyman’s Progress Part One | Journeyman’s Progress (bandcamp.com)

Review – Threshold – Dividing Lines

In a time when the world is in uproar and chaos we need something familiar, something grounded that we can keep hold of to steady ourselves and music is one of those things that can provide that stability. When one of your favourite bands releases a new album, like a familiar friend, it is something you really look forward to and cherish.

There is no other band that sounds like prog-metal stalwarts Threshold, their style of music, punchy, hard hitting and yet very melodic, sounds like nothing else and is instantly recognisable, but never mundane or monotonous. Their 12th full length album ‘Dividing Lines’, is set to be released on 18th November via Nuclear Blast Records.

Dividing Lines’ marks the second album since the return of former vocalist Glynn Morgan, who reunited with the band on their previous effort ‘Legends Of The Shires’ (2017)darker album than ‘Legends Of The Shires’, the band have described it as Legends’ darker, moodier older brother”.

There’s no band that can fuse the hard hitting punch and power of top level prog-metal with a classy melody quite like Threshold. The thunderous riffs of Karl Groom’s guitar combine perfectly with the granite-like rhythm session of Steve Anderson and Johanne James, deliciously monstrous and monolithic. Add in the compelling, almost lyrical keyboards, of Richard West and Glynn Morgan’s definitive and potent vocals and you have a the perfect combination.

A new album from Threshold is always an event worth waiting for and ‘Dividing Lines’ is no exception, the thunderous power of opener Haunted literally takes your breath away and opens the album on a very high note. Hall of Echoes takes that dynamism and adds a layer of sophistication, Karl’s guitar and Richard’s keyboards working in perfect unison on a track that is pure Threshold and Glynn’s vocals full of an emotive intensity, a brilliant song. Let It Burn and Silenced continue the run of superbly written and performed tracks, the former full of a brooding authority thanks to Glynn’s fine vocal performance and the the latter (the first single released from the album) a pure cut of perfect Threshold, short, sharp and in your face but with a melodic resonance running deep to its core. You can feel a sense of real unity throughout this album, the musicians in perfect sync and seemingly having a total blast and you can’t help but get caught up in that feeling. I found that, at first, ‘Dividing Lines’ lacked the immediacy of ‘Legends Of The Shires’ but repeated listens have shown that patience is key with this new release and there is real depth, particularly on tracks like The Domino Effect, a ten minute prog-metal masterpiece that showcases all that is best about Threshold. A song that ebbs and flows with real elegance that combines perfectly with superbly judged dynamism and has a wicked chorus to boot! The album really clicked for me after a few listens to this musical gem and, in my opinion, it is one of the band’s best tracks of recent years.

Edgy, punchy and in your face, Complex is hard hitting and high-powered. A staccato riff giving the song a compelling potency and Glynn’s vocals once again on top form. King of Nothing opens in a wistful manner but that soon changes into a stylish vitality and forceful dignity to bring us another excellent track with another memorable chorus. Then we come to a song that just defines everything Threshold have become, Lost Along The Way is a perfect slice of prog-metal magnificence and defines just what the band are all about. Flawlessly judged riffs with potency and intimacy and an impeccable melodic backbone from the super smooth synthesisers, Glynn’s wonderful vocals and a haunting chorus all combine with the excellent backing of one of the best rhythm sections around to deliver a masterclass. Run is a more hard rock oriented track but one that fits seamlessly into this ever impressive album and then we come to the album closer Defence Condition, another ten minute plus song full of spark and energy, a fast paced rollercoaster ride showcasing a band full of confidence, self-belief and a certainty in their ability.

For fans of the band it’s been a long five years since ‘Legends Of The Shires’ but when they return with an album as strong as ‘Dividing Lines’, you could say it has been worth the wait. Threshold are one of the pre-eminent proponents of prog-metal performing today and this fantastic new release has cemented their position right at the top of this particular musical tree.

Released 18th November, 2022.

Order the album here:

Threshold – Dividing Lines (bfan.link)

Threshold announce new album ‘Dividing Lines’+reveal first single & music video for ‘Silenced’

THRESHOLD return with their 12th full length album ‘Dividing Lines’, which is set to be released on 18th November via Nuclear Blast Records.

‘Dividing Lines’ marks the second album since the return of former vocalist Glynn Morgan, who reunited with the band on their previous effort ‘Legends Of The Shires’ (2017)darker album than ‘Legends Of The Shires’, the band have described it as Legends’ darker, moodier older brother”.

Get your first taste of the album with the single ‘Silenced’, which comes with a stunning new video.

Stream ‘Silenced’ on all platforms here: https://bfan.link/silenced

Richard West comments on the song: Silenced is about how we seem to be heading towards less voices, less artists, less venues, less platforms where everyone can be heard. People seem so scared to speak out or debate anything anymore. I know I sound old but I miss the good old days! When freedom of speech goes then society is lost.”

The video was filmed by Sitcom Soldiers in the UK who also filmed the band’s last video ‘Small Dark Lines’. The video portrays a boy coming up against a threatening foe, only defeating them by summoning a mighty scream (unsilenced).

Pre-order Dividing Lines here: https://bfan.link/dividing-lines
See below for available formats: 

FORMATS:
CD Digi
2 LP Gatefold – Black
2 LP Gatefold Gold
2 LP Gatefold Crystal Clear Orange Black Splatter
2 LP Gatefold Orange Black Marbled
2 LP Gatefold Transparent Red Black Splatter

THRESHOLD line up:
Glynn Morgan | vocals

Karl Groom | guitars

Richard West | keyboards

Steve Anderson | bass

Johanne James | drums

Review – The Room – Caught By The Machine

“The expansive soundscape driven into their third offering blows the gates wide open with a wealth of captivating melodic prog rock tracks, delivered with a quintessentially British level of class and sincerity despite the very serious and thought-provoking undertones etched into the music.”

You’ve got to love a bit of PR blurb (well I do, because I used to write it!) and this gem, delivered with the latest release from UK based sextet The Room, certainly does capture the imagination.

On the subject of the album’s title, The Room comment that the concept of being ‘Caught By The Machine’ directly relates to the feeling one experiences when the state, a job, a relationship or even a drug begins to control their every living moment. It is a reflection on many aspects of the modern world, for better or worse.

Formed in 2010 by Andy Rowe along with Martin Wilson and Steve Anderson from neo-prog rock band Grey Lady Down, The Room never fail to deliver an outstanding performance – both in the studio and in a live environment.

I am going nowhere near the age old “Is it Prog?” debate with this review, I am judging everything on its own merits, after all it doesn’t matter what genre you may or may not think it sits in. There’s a simple question that needs to be asked, is it any good?

Well Martin Wilson’s vocals are on top form throughout, he has a commanding and powerful vocal style that really demands attention, the fact that is is very melodic just adds to the exciting mix. The addition of Eric Bouillette’s guitar, along with band stalwart Steve Anderson, adds a harder rock edge and some very impressive solos and the rhythm section of Chris York and Andy Rowe is as impressive and dependable as ever. April 2018 saw the departure of keyboardist Steve Checkley and the arrival of new keys maestro Mark Dixon who has fitted in seamlessly.

‘Caught By The Machine’ is a very tightly created collection of ten songs that have been crafted meticulously to the last detail (the Production by prog legend John Mitchell is particularly notable), excellent songwriting giving us gems like opener Bodies on the Road, The Golden Ones and Vanished. Tracks that flow perfectly from beginning to end with catchy chorus and exemplary musicianship.

The Room have created their own distinctive sound from debut release ‘Open Fire’ through to the sophomore album ‘Beyond the Gates of Bedlam’ and that continues on the latest release but here it has matured and become something very classy indeed. Driving guitars, swirling keyboards, a dynamic rhythm section and Wilson’s urgent vocals creating highs of the likes of Run, Drowning In Sound and my particular favourite: It’s Not My Home.

The reggae guitar infused Broken seems a little out of place to me but, other wise, there are no low points in this memorable album. I got to the end of the darkly delicious final track Bloodstream and just pressed play again.

‘Caught By The Machine’ shows a band who are evolving into a major player. Inventive, impressive and superbly crafted, the simple answer is yes, it is very good indeed…

Released 22nd February 2019

Purchase from The Room’s website here: https://theroom.band/

Review – Threshold – Legends Of The Shires – by Progradar

Threshold return with their 11th full length release ‘Legend Of The Shires’. One of progressive metal’s most enduring bands formed in 1988 and released their first album in 1993, twenty four years later their “colossal double concept album” sees them stretching the boundaries of the genre once again.

Described as “A monster of an album…” by Threshold’s Richard West, it is also the band’s first ever double album.

If that wasn’t enough to get me drooling then the outstanding artwork by Russian artist Elena Dudina only heightened the anticipation even more. Of the art Richard also had this to say, “I love it when a cover tells you what sort of record you’re buying. This one really shouts “progressive” and reminds me of some of the classic prog albums from the 20th century.”

With vocalist Damian Wilson moving to pastures new and the return of Glynn Morgan to fill his substantial shoes (more of that in my interview with Karl Groom coming soon) the scene has been set for one of 2017’s most eagerly awaited releases…

Legends Of The Shires’ is possibly Threshold’s most complete album yet which, with a back catalogue like theirs, is really saying something. It flows from beginning to end, like one complete musical journey and is a true concept in both musical and lyrical terms. A concept loosely based on our country’s current position in the wider world and also how we, as individuals, fit into the wider scheme of things is worked intelligently into some of the band’s best recorded material of the last few years.

Keyboardist West and guitar guru Karl Groom are the main songwriting masterminds and, as well as Glynn (who also adds guitar parts), Johanne James (drums) and Steve Anderson (bass) make up the rest of the band. Production, engineering and mixing duties were also handled by Richard and Karl.

Richard discusses the new album title and whether or not the band were influenced by Tolkien:

The return of Glynn Morgan has added even more power to the vocals and yet he can also provide moments of sentiment and passion on tracks such as The Shire (Part2)State Of Independence and the emotive album closer Swallowed. Glynn also adds fervor and a rawness to hard riffing songs like the brilliant Small Dark Lines and the heavy On The Edge and Superior Machine.

The added emphasis on the song and the soundscapes is wholly evident on the two heavily prog-infused epics that grace this great album. The superb The Man Who Saw Through Time was never intended to be a longer track but just evolved into the wonderful musical odyssey it has become. An involving and powerful song which holds your attention and pulls at your heartstrings before opening up into a wide musical panorama with intricacy and vibrancy, you’ll find yourself transfixed. Lost In Translation is just over ten minutes of near musical perfection from the euphoric opening right through the hypnotic and entrancing verse and the addictive chorus to the uplifting close and the great interplay between Karl’s guitar and Richard’s keys, this is songwriting at its best.

There are no filler moments on the album, the progressive-metal standard Trust The Process has all the prerequisites than any such track should have and reminds me of Dream Theater at their original best and one of the stand-out tracks on this stand-out album is the exceptional Stars And Satellites with it’s Frost* like innovations and incredibly catchy chorus. Snowblind is another superior song with an exceptional musical narrative and one that I know Karl is especially pleased with.

Another highlight is the return of original bassist (and one-time vocalist) Jon Jeary who guests on vocals on the lovely The Shires (Part3) a delightful, if short, piece of music that compliments the rest of the tracks perfectly.

I make no excuses for my effusive praise of this new release from Threshold, ‘Legends Of The Shires’ is a triumphant return from one of the UK’s foremost progressive-metal artists and is an album where the song and the journey take precedence over technical wizardry and musical scales and deliver an expansive and immersive musical adventure that transfixes and captivates in equal measure. From beginning to end, the music flows perfectly and the album should ideally be consumed in one sitting, 2017 has given us some superlative musical releases already but, in ‘Legends Of The Shires’Threshold may just have delivered the finest one yet.

Released 8th September 2017

‘Legends Of The Shires’ is available to pre-order on a variety of formats from Nuclear Blast here:

 

 

 

 

 

Review – The Room – Beyond The Gates Of Bedlam – by Emma Roebuck

Due to be released on 20th November 2015 by Bad Elephant Music, the new album from The Room – ‘Beyond The Gates Of Bedlam’ is reviewed by our own Emma Roebuck.

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The first thing I have to own up to is that I like The Room and am promoting one of the forthcoming tour dates.

I came late to these guys and bought ‘Open Fire’ on a whim, I immediately regretted not buying it earlier.

On first play, ‘Beyond The Gates Of Bedlam’ is the natural successor to ‘Open Fire’ in content, style and the music. It has all the hallmarks of song structure, melody and lyrics that made me like them in the first place.

The prog credentials are still there, 5 tracks coming in at over 6 minutes and this allows the musical ability of the band to come through in spades and the rest are not lacking for being shorter.

It has a better feel and production as well as being far more confident a product than ‘Open Fire’, there is a definite ‘levelling up’ on this album.

Although not a concept album there is a theme to it.  Life, love, and power, and how it affects people. Martin Wilson’s vocals add to the distinctive sound, filling the songs with passion in his delivery.  The guitar work from Steve Anderson is rich and varied but not overpowering, his ability shining through on such tracks as Masquerade and the Hunter.

Andy Rowe (bass) and Chris York (drums) provide a really solid foundation throughout the whole album, giving this very varied release a consistency worthy of the songs. Steve Checkley’s keyboards fill the music with light and shade, combining well with Anderson’s guitar on The Book, a song about the manipulation of faith by the powers that be for their own ends.

Even the more or less straight rockers on the album like Splinter are complex enough for the average prog fan. The high point for me is Bedlam, a ‘Post-apocalyptic view of life and how the fabric of life can easily break down when law and order is no longer effective’. This track is going to be a classic, 20 minutes of pure prog condensed down into 5.

Looking at this as an overall product, if you like a well contrasted songs with melodic variety at the progressive of the music market then, this is the album for you, if you want metal, dissonance or Canterbury, this is not it. For fans and listeners of  Frost*, Jump or their ilk, I reckon your money would not be wasted .

Released 20th November 2015 through Bad Elephant Music.

Pre-orders opening very soon, please keep an eye out for details.

Pre-order CDs from The Merch Desk

Download from Bad Elephant Musc

You can listen to Carrie, the first single from the album, at the link below:

Listen to Carrie