Progradar Recommends (Episode 1) – Marco Ragni, M’Z, Siiilk & Wilson and Wakeman

The long form review is becoming defunct in this day of instant gratification and bombardment of new musical exploits. Welcome to the new Progradar review section – ‘Progradar Recommends’ – where you’ll get more reviews (only with less words or some may say less twaddle!).

Starting this new feature will be Marco Ragni, M’Z, Siiilk and Wilson & Wakeman.

Marco Ragni – The Wandering Caravan

“The album is about revolution, about searching for oneself, about metaphysical travel, about memories, about love and suffering. It talks about life, of how we live this Era. It try to push us in search of ourselves, finding the best of us after having passed from the worst of us. It’s a journey into my life. It is passion. It is a desire for redemption. It is a dream and a reality.”

Italian musician Marco has always been one for complicated and involving music using different influences and this new album is no different. Using eastern influences and a lot of woodwind you are treated to an ululating and evolving musical work that rewards concentration and repeated listening. Tracks like Promised Land and Keep Dreaming have a wistful and laid back feel that instantly lulls you into a calm and serene frame of mind.

Marco is joined on this journey by Peter Matuchniak (Lead guitar), Dave Newhouse (Woodwind) and Jeff Mack (Bass) as well as a host of renowned guests included Luca Zabbini and Ian Beabout. What he delivers is eight tracks that are a personal musical revelation from this highly accomplished artist. Listen to songs like Waiting on the Threshold and you will be captivated and drawn into this impressive escape from the mundane boredom of real life.

Released 28th February 2018

Order The Wandering Caravan from bandcamp here

M’Z – Prisme

Not your usual fare for this reviewer but I was intrigued by the album cover of Toulouse artist M’Z’s album ‘Prisme’ and so I decided to follow it up. It is presented as a fusion of rock, electro and jazz and, to be fair, it does exactly what is says on the tin.

To me, there’s just something exciting about the music and the structure of the tracks. Based around some pretty impressive guitar work the keyboards blend in with there elctro-pop vibe and the off-kilter feel is really of free-from jazz. To add even more polish and machination there are some highly energetic and powerful industrial electro vibes flying around all over the place with some punchy percussion.

To quote the artist:

M is the guitar and Z is the machine, the idea is to also create a bridge between organic and electric/electronic music, a bridge between the code and its acceptance and the need to get out of the code.”

Don’t be put off by the description as, with repeated listens, this album really gets under your skin in a very positive manner. What you get is a thoroughly enjoyable 42 minutes of music with influences from all over the musical spectrum.

Released 27th December 2017

Order ‘Prisme’ from bandcamp here

Siiilk – Endless Mystery

A band new to me until I happened to talk to member Richard Pick earlier this year, Siiilk (someone’s finger stuck on the keyboard?) hail from France and produce wonderful, ethereal progressive rock hewn from the genre’s traditional style but with added Gallic flair and grace.

The band was formed in 2010 and have gone from strength to strength, blending superb, intricate guitar work with the lush keyboards and the wistful vocals of Robert and Catherine Pick. The subtle rhythm section is a revelation throughout and especially prevalent on the title track.

The PR stuff –Siiilk revives its creative power and takes us to the imaginary realms of the mysteries of the soul. Through sensitive and intense sounds, their songs speak about landscapes of emotion and melancholy.”

Listening to ‘Endless Mystery’ is like falling onto the most comfortable bed in the world and letting the sublime, heavenly music wash over you, absolving you of all your earthly sins. Musical catharsis if I have ever heard it, one I suggest you go out and purchase forthwith!

Released 24th May 2017

Buy ‘Endless Mystery’ from Amazon here

Damian Wilson & Adam Wakeman – The Sun Will Dance In Its Twilight Hour

The second collaboration from this uber-talented duo is another exquisitely created and performed selection of songs where Damian Wilson once again gets to show us his more gentle side for this is another album founded on the big man’s ever impressive vocal and Wakeman Junior’s sublime tinkling ivories just add lashings of polish and verve.

What we have here is another dedication to the art of songwriting and the song. Tracks like opener The Last American Hero, Always The Lonely One and the title track are perfectly crafted jewels of the songwriting art and don’t need any enhancement, you just enjoy them for what they are. Adam even gets to show us his vocal skills on On This Battlefield and their emotive, touching delivery will move you.

“Writing songs with Damian is always a great experience as we tend to start from scratch and follow where the writing takes us. We’re so pleased with how this album has come together. Having Gary Stevenson on board to mix thealbum and add an extra ear from a production background has been nothing but positive. He also has a killer coffee machine.” – Adam Wakeman

After the wonderful ‘Weir Keeper’s Tale’ Damian and Adam have once again proved there are a force to be reckoned with and song writers without peer. Just listen to the nigh on perfect Better Than That with its gentle, piano led opening that slowly builds into a wonderfully up beat, almost raucous, jazz/rock outpouring that just makes you smile, life really doesn’t get much better than this!

Released 16th February 2018

Order ‘The Sun Will Dance In Its Twilight Hour Direct From Damian & Adam here

So that’s it, the first edition of Progradar Recommends, let me know your thoughts please as I’m always looking to improve!








Review – The Fierce And The Dead – The Euphoric – by Jez Denton

Just recently I have picked up on the Channel Four series of Philip K.Dick stories, Electric Dreams, in which dystopian nightmares are played out in mainly normal humdrum situations with a fear of foreboding dread building to a crescendo. Likewise, the third studio album from instrumental band The Fierce and The Dead, titled ‘The Euphoric’, is one that builds and builds, working around a juxtaposition of beautifully crafted melodies driven by crashing, hard driven and downtuned guitar riffs. A major compliment I can pay the album is that should channel four make another series of Electric Dreams this is the band and album that should soundtrack it.

Over the last eight years since their debut release, the ‘Part 1 EP’, The Fierce and The Dead have developed their craft, adding layering and texture to their already formidable playing and production skills. Using their influences whilst retaining their individuality is an enviable skill; one which is often not pulled off but, in the case of this album, most certainly is. You can hear throughout the album the influences of the musicians the band have worked with or obviously admire; from the hardcore metal of bands such as Slayer to the melodic tune creation of a Steven Wilson, The Fierce and The Dead have made an album of deep complexity whilst retaining a simplicity within the riff structure that drives the album on and doesn’t allow it to become samey or repetitive.

The two lead singles from the album are both standouts with the already successful, with accompanying video by acclaimed director Mark Duffy, Truck being followed by, on the 30th March, 1991. Both tracks show off the sound which you can expect from the album with their heavy psychedelia and cross over between guitars and synths being indicative of the direction the band have taken. The band are happy to confound, confuse and surprise in composition and performance which makes this album a fulfilling and satisfying listen.

The album, which is released on the 18th May by Bad Elephant Records, featuring amazing cover art work by Mark Buckingham, will be available in both CD and Vinyl formats. There will also be available limited edition bundles featuring a print of the cover artwork and an exclusive bonus CD of live and demo tracks.

Released 18th May 2018

Order ‘The Euphoric’ in all formats from Bad Elephant Music at bandcamp here

Review – Mothertongue – Where The Moonlight Snows by Tom Slatter

Mothertongue  Mothertongue Mothertongue  Mothertongue Mothertongue Mothertongue!

This is great. A big dollop of proper pop. A slice of singalong hooks, followed by the rest of the cake. The earworms you didn’t know you needed until they wiggled down your eustachian tube and wrapped their little bodies round your cochlea. Your new favourite album.

Bad Elephant Music might be a progressive-rock-adjacent label but this is not prog. Sure, there’s the occasional change in time signature and the combining of a few different genres, but nothing of the 1970’s prog world here. This is a song of short, ‘proper’ songs.

Which is not to say it’s conventional, or obvious. Just that it ain’t prog.

I have to declare two conflicts of interest. One is that my music is released via the same label as this album. The other is that I am already a massive Mothertongue fan. I’m not pretending to be unbiased with this review. Ever since I heard the opening lines of their first album ‘Unsongs’ I was in love.

‘I’ll work the pedals and the devil can steer, things are gonna change, gonna change round here….’

Isn’t that a perfect lyric?

I interviewed two of the Mothertongue boys for my now defunct podcast ( ) last year when they were putting the finishing touches to this album and they gave me a little bit of a low down on ‘Where the Moonlight Snows’.

Where ‘Unsongs’ was written across different sessions and several years, ‘Where the Moonlight Snows’ was a recorded as one project. Where part of the charm and brilliance of ‘Unsongs’ is that it sometimes has the whole band throwing their kitchen sinks at the listener at the same time, this a more crafted affair. The band have really thought about arrangements here.

Just as I typed that, the song Ofelia, playing in my headphones, got to a part about 4:20 in where a vocal countermelody joins in, along with some drums and high pitched arpeggios in the right hand speaker. You get the impression, with little moments like that, that Mothertongue have really spent a hell of a lot of time making this thing perfect.

One thing I also learned from interviewing them is that the band has a UBS stick of ideas that makes its way around the band, being added to and mined for songwriting ideas. There are sections of songs here that have been hanging around for ages, waiting to be finished, right up against what I presume to be newly minted moments. I couldn’t tell you which is which, though I know it’s true. The finished songs are seamless.

What does it sound like? There’s plenty of English rock song here. I’m not sure of the band’s influences, but it reminds me of the indie rock that I loved in the 90s. That sensibility certainly seems to form the base of the band’s songwriting, but you can add to that moments of Americana, and the sort of string and trumpet playing that wouldn’t be out of place in arrangements of the Great American songbook.

There are three guitar players in the band, a trumpet player and a great rhythm section (not to mention great flute playing and perfectly adequate keyboard playing from guest musicians) and yet never once do things go latter-day Iron Maiden. You’re more likely to get a tasteful bit of delay-laced picking, minimal bass and sparse rhythm guitar than you are to get a wall of powerchords. I swear there are only a few places on the album where the whole band play together at the same time, but when they do it properly rocks.

What are the songs about? I have no idea, to be honest. I don’t think that’s necessarily a sensible question. What you get with Mothertongue is a relentless cavalcade of bizarre imagery, surreal semi-rants and words that you never expected to hear in the same sentence.

‘I climbed out of the creature tree to see myself what I could see.. it’s getting weird as a wasp in a beehive.’

‘Beware of the dog-headed moon’s lunar snare’

‘Dream a dream I did, As a young toothless kid down a twisted road where the river flowed upstream.’

I pretty much love every line on this. I haven’t given a second thought to what the lyrics might be about. Because meaning in popular music doesn’t come primarily from the lyrics, they’re just one element along with hook and groove and melody and arrangement.

(Photo by StudioStead Photography)

And when you put all those things together, what do you get? You get a collection of songs you can loose yourself in, to singalong to, to rock out to, to be slightly thrown when – as The Bullet has just done in my earphones – an unexpected synth line and fuzzy guitar suddenly takes you down a path you weren’t expecting.

Part of the charm of Mothertongue’s first album was it sometimes it really rocked out, but in between those rock songs it would throw something like Shango at you, which had no guitar on it at all, and was all about the vocals and horns. That inventiveness is just as present on ‘Where the Moonlight Snows’, thought it is fair to say this album has fewer out and out rocky moments than it’s predecessor.

What it does have is hooks. Armfuls and bagfuls of hooks and tunes and songs that you really need in your life.

Highlights for me? Blue Wicked Heart, Shipwreck Song, Ofelia, Earthbound

And the rest. It’s all a highlight. It’s Mothertongue.


Mothertongue Mothergtongue Mothertongue Mothertongue Mothertongue!

Released 23rd March 2018

Order ‘Where The Moonlight Snows’ from Bad Elephant at bandcamp here


Review – Downriver Dead Men Go – Departures – by Kevin Thompson

The man called Gerrit rounded the corner, his earphones mingling the noises from the factory to his left with the music on his mp3 player, whilst the lost and lonesome dragged through another evening shift on minimum wage to keep the corporate wolf from the council house door. Under-appreciated he mused, he couldn’t, wouldn’t want to do their job.

His gait slowed as string like arrangements filtered into his ears, the pavement glistening, umber under the old street lamps and the damp air leaving a moist layer on the paving stones. The fog had crept in and choked the visibility down to a couple of hundred yards as he turned to stare across the cobbled street and the boarded up building opposite, hunched in the dark like a homeless giant huddled against the cold night air.

Gerrit Koekebakker pulled his sagging coat collar closer and his hat down in a futile attempt at shutting out the cold, then he stepped on to the cobbles and crossed to the old club. Fading, crinkled pictures in rusting frames, telling of  faded stories from the past he had once been part of. He stared at them momentarily, reached into his coat pocket and removed his flat keys, pressing them firmly against the edge of one of the frames until it popped open fractionally and he could remove the photo. He stared at the curled edge photo for a second. She was in the picture serving at a table, his waitress.

Lamentation had been his only friend when he had lost her.

He took the key from his pocket, unlocked the door, stepped into the dank, dark entrance and secured the door behind him. Using the light from his phone he found and flicked the fuse box switch. The lights fluttered on and he pushed through the musty red velvet curtain to reveal the club interior. It was two years since the band had played here, the club closing shortly after the last gig. It hadn’t changed in here though the world outside had moved on. His memory ran footage of the band up on stage, familiar faces mingling with newer ones in the audience. Things had seemed on the up when they left that night, he’d bagged the girl he’d fancied for some time and the band were gaining interest from promoters and labels.

Funny how it can all turn in an instant, a strummed guitar picked up the story.

He’d seen the waitress home with a promise to call the next day, returning to the place he shared with his Mother only to find an ambulance outside, lights flashing.

 What would he do without her, his Mother had always been there for him, he hadn’t pictured her leaving. Distraught he stumbled through his emotions over the following weeks, haunting melodies playing in his head. Shutting out the empathy and rejecting company, he remained in the house leafing through old photos, solace in a bottle as he tried to fill the emptiness inside, the sounds of sorrowful guitar and keys mixing with sombre bass and drums intensifying from the stereo’s speakers, trying to crush the misery. He shunned his band-mates and the waitress. The club manager left messages terminating their residency with regret due to closure, one thing after another. The band fractured without him, going their separate ways to try and earn a crust.

 Dropping the curtain behind him, he wove his way through the booths toward the dance floor as the last few guitar chords faded. With the bar to his left he stood on the dusty wooden floor before stepping on to the stage and turning to look around the room.

The waitress. He never thought he was in with a chance, always some big-time money boys around handing out fat tips, expecting repayment with interest. He was a jobbing  musician, living with his Mother, what could he offer. But slowly over the weeks he’d watched her long legs in silk hose strut paths through the smoke infested punters, dodging the groping hands and lewd offers, always smiling, her lips the colour of cherries, and blonde curls of hair bouncing and floating as she turned and shimmied the shuttles between bar and tables, navigating trays of drinks to arrive unspilled. She would  flash the ruby smile and he was entranced with her laughing blue eyes, just one night would be enough.

 The night he walked her home she told him how pleased she was that he had finally spoken to her and asked her out, she had been waiting. She had been there some days as they rehearsed, pausing to sway to the languid keyboards and echoing guitar creating ripples of  notes through the air, sometimes she would seem miles away, her body slowly dancing, shut off from everything around her and lost in the music…….How could he take her from being so happy only to make her the Loneliest Of Creatures.

Thoughts of the waitress made him smile wistfully and he slowly shook his head as the track rose on his plaintive vocals, the music turning heavier and distorting into the final keys from Remco den Hollander.

The next track plunged from his pocket and into his ears with a burst of heavy fuzzed guitar-work from Michel Varkivesser and Remco’s keyboards, Manuel Renaud’s drums bouncing vigorously alongside the bass of Fernandez Burton, before swirling into an echoing key loop and his voice began to sing about the Prison Walls he had built around himself…

Surrounding himself with a blanket of darkness trapped behind bars of his own making, he’d existed, barely, not considering the future or making decisions. There has to come a point of balance from which you start to return, or disappear. He resolved then, no more misery, things would be like before. It wouldn’t be easy but as the music strode out in a vote of confidence, he opened the curtains allowing the light to flow like liquid gold over the interior of the room. He couldn’t keep this place in darkness like a mausoleum any longer, it was his Home.

 There was a noise. He pulled out the earphones as thunder and lightening rolled overhead outside and he could hear rainfall on the roof, accompanied by slow dripping into the bucket across the room. That would be fixed. He pondered on the quiet in the room and pushed the phones back in his ears, dismissing the air of loneliness. The most deafening screams were those of silence.

He had been at the stage where he’d wished someone would take this life away from him, the times he lost control during his period of mourning.

 A hopeful guitar solo rose from the ear-bud speakers.

There had been a lot of Uncertainty to deal with, at times it felt he was taking one step forwards and two back towards the place where he had longed for seclusion. The darker moments of music echoing his moods but glimmers of hope being punched through by the drumbeats and guitar soloing as the long rebuild of his life began to piece together.

 He’d contacted the band members, understandably there were Departures,a couple having made their own paths, but some of the old gang were still interested and they could audition new members. Where there had been a void of black and a writhing kaleidoscope of shadows, the jigsaw of his shattered soul that had promised fear forever more, began to free itself  like a bird released.

Gerrit reminisced how he and Fernandez had recruited Michel to flesh out the guitar sound giving it a heavier edge and to provide backing vocals. They brought Remco and Manuel into the fold and whilst retaining the core sound of the band, impressed their own bass and drum styles into the music, as rehearsals and recording began with new found zest.

As the album tracks formed, the addition of guests Steen Gees Christensen playing duduk, and backing vocals from Inge den Hollander added different flavours to the mix, with spoken words from Joanne Platts highlighting the passages.

Confidence rebuilding there was one more matter to take care of. He thought she would have found someone else, but those he asked advised she was still single. He needed to see the smiling eyes and  laughing lips on that Familiar Face. With trepidation and sweaty palms he arrived at her house. He’d hurt her, would she turn the key and let him in?

 He knocked on the door, it swung open and there stood the waitress  just as he remembered, the sunshine to his rain. With no remonstration and the sparkle in those blue eyes re-ignited, she flung her arms around him and kissed him deeply, it was going to be ok.

 And so it was, his smile broadened as he sat on the edge of the stage and thought of the upcoming wedding, To Have And To Hold. He hoped his parents were looking down on him and he was making them proud.

And then there was the club. He had bought it using the monies left by his wonderful Mum and the savings Dad had put away which she had never spent, saving it for him to help when she had gone.

He’d best get going or he would be late for band practice. One last look round the room as it was, the builders would start the refurbishment work in the morning. Within a few weeks all would be transformed, a new look interior and a familiar band in residence for the grand re-opening.

He made his way out on to the street and locked the door. The rain had stopped and there was an added spring to his step as he disappeared round the corner.

Whilst the line up has altered, the sound from the last album remains but with an added edge. I enthused about the first album ‘Tides’ and still love it, so it was a real pleasure reviewing this sophomore offering that more than matches it. What influenced me reviewing the last album has inspired me again and rather than a straight track by track review of ‘Departures’, I felt the best way to do this was extend the story.

Those with a keen ear will notice references to the lyrics woven throughout the review and the musicianship on ‘Departures’ is as fine a production as you could wish, oozing with slick, languid rhythms and blossoming crescendos. If you liked ‘Tides’ then ‘Departures’ is a must buy. I have still to see Downriver Dead Men Go live but who knows I may stumble into a hazily lit, down-town bar someday and find them on stage. I hope so.

Released 8th March 2018

Order in the UK from FREIA Music UK here

Order in Europe/ROW from FREIA Music here:

Downriver Dead men Go – DEPARTURES [CD]


Tangerine Dream release soundtrack album to the film ‘Cargo’ – Out 4th May

Invisible Hands Music is delighted to announce the release on 4 May 2018 of the Original Motion Picture Soundtrack to the film ‘Cargo’ as created by Thorsten Quaeschning of Tangerine Dream.

‘Cargo’ is a taut thriller written and directed by James Dylan, that stars actor Ron Thompson in the lead role.  ‘Cargo’ tells the bleak yet compelling story of the events that unfold when a man wakes trapped inside a cargo container with only a cell phone and is given 24 hours by his kidnappers to raise ten million dollars in ransom or die.  The Original Motion Picture Soundtrack to the film ‘Cargo’ by Thorsten Quaeschning plays an integral role in the unfolding story and the atmospherics of the piece.


01) Chain Initiation  02) Light Reading Lamp  03) Spotlight Effect  04) Liquid Funds Transfer  05) Isolation Fault  06) Outside A Musical Box  07) Wanderbaustelle  08) Mass Market Claustrophobia  09) Aggravated Circumstances  10) New Insight  11) The End Is Not Far Off  12) Cargo Main Theme  13) Trade Mark Activation*  14) Tom’s Theme*  15) Modulated Pulse Commands*  16) Beating The Container Drums*                     * CD only

Tangerine Dream began in 1970 after the band members spent time with Salvador Dali in Spain in the late 1960s. They returned to West Berlin to invent the future of electronic music, and had ten Top 10 albums on both sides of the Atlantic, and the 1980s scored some of the biggest films of the era including Sorcerer, Risky Business, Thief, Near Dark, and Firestarter. The band continues making incredible, futuristic electronic music today under the leadership of Thorsten Quaeschning.


Ahead of the release of TesseracT’s highly anticipated new studio album Sonder the band have revealed their first official video, for their new single “King”.

The emotive and viscerally challenging clip, was directed by Kyle Kadow & Steven Cleavland and shot in a snowy Wisconsin following a brutal storm, which all added to the atmospheric footage as bassist Amos Williams explains “We have been very lucky to work with two cinematographers of such vision and quality as Kyle and Steven. We gave them free reign with the creation of the first story board. They chose to explore the theme of claustrophobia and how fear can control our lives. Using a luminary figure as a beacon of hope and escape for the characters.”

Listen to ‘KING’ here:

Lyricist and vocalist Daniel Tompkins expands on the song’s concept by saying “Far too often we find ourselves lead into conflict and inner turmoil. Life is surely a battle, history has a bad habit of repeating itself and when living with the constraints of an onerous life it’s easy to overlook the greatest gift we’ve ever received: life itself”.

onder due to be released through Kscope on 20th April, adds significant firepower to the band’s arsenal, blending the harsh abrasiveness of One (2011) and progressive ethereal elements of Altered State (2013) with the accessibility of Polaris (2015)Sonder is streamlined, honest and direct with all the trademark TesseracT dreamy atmospherics and bending grooves. Sonder was recorded in the UK at 4D Sounds, Celestial Sounds and Project Studios, engineered by the band and Aiden O’Brien with mastering by Acle Kahney, and cover artwork designed by Amos Williams.

Sonder will be released on CD / 2CD – featuring binaural album bonus disc / black LP / Crystal Clear vinyl LP / picture disc (exclusive to the band’s webstores) and digitally (with digital album pre-order receiving “Luminary” & “King” as an instant downloads) and is available to pre order HERE

TesseracT are gearing up to begin their worldwide Sonder Tour in North America in April, with summer festivals across Europe before hitting stages in Europe towards the end of the year.

Ticket details for all shows can be found on

Sonder 2018 Tour Dates

North America w/ Plini & Astronoid 

Apr-19                     Boston, MA – Paradise Rock Club

Apr-20                     Philadelphia, PA – TLA

Apr-21                     Baltimore, MD – Baltimore Sound Stage

Apr-22                     Greensboro, NC – Arizona Pete’s

Apr-24                     Tampa, FL – Orpheum

Apr-25                     Atlanta, GA – Masquerade

Apr-27                     Dallas, TX – Gas Monkey Bar & Grill

Apr-28                     Houston, TX – White Oak Music Hall

Apr-29                     San Antonio, TX – Alamo City Music Hall

May-01                    Albuquerque, NM – Sunshine Theater

May-02                    Phoenix, AZ – Club Red

May-03                    Los Angeles, CA – Regent

May-04                    San Diego, CA – House of Blues

May-05                    Berkeley, CA – The UC Theatre

May-07                    Portland, OR – Hawthorne Theatre

May-08                    Seattle, WA – El Corazon

May-09                    Vancouver, BC – Rickshaw Theater

May-11                    Edmonton, AB – Starlite

May-12                    Calgary, AB – Marquee

May-14                    Salt Lake City, UT – The Complex

May-15                    Denver, CO – Summit

May-16                    Lawrence, KS – Granada

May-18                    Minneapolis, MN – Skyway

May-19                    Chicago, IL – Metro

May-20                    Detroit, MI – Majestic

May-22                    Toronto, ON – Opera House

May-23                    Montreal, QC – Club Soda

May-24                    New York, NY – Irving Plaza


EUROPEAN DATES W/ Between The Buried & Me + Plini

Nov-09                    DE – Cologne, Live Music Hall

Nov-10                    NL – Nijmegen, Doornroosje

Nov-11                    BE – Vosselaar, Biebob

Nov-12                    FR – Paris, Le Trabendo

Nov-13                    DE – Aschaffenburg, Colos-Saal

Nov-14                    DE – Hamburg, Gruenspan

Nov-15                    DK – Copenhagen, Pumpehuset

Nov-16                    NO – Oslo, Parkteatret

Nov-17                    SE – Stockholm, Kägelbanan

Nov-19                    DE – Berlin, Lido

Nov-20                    DE – Stuttgart, Im Wizemann

Nov-21                    AT – Vienna, Flex

Nov-22                    DE – Munich, Backstage

Nov-23                    CH – Aarau, Kiff

Nov-24                    IT – Parma, Campus Industry

Nov-25                    LU – Esch, Rockhal

More dates to be announced ..

Summer Festivals:

26/05/18 – CH, Monthey – Irreversible Festival (

08/06/18 – UK, Donington, Download Festival

22-24/06/18 – BE, Dessel, Graspop Festival

22-24/06/18 – FR – Clisson – Hellfest ( )

22 – 28/07/2018 – SI – Tolmin – Metal Days Festival (

28-30/06/18 – ESP, Madrid, Caja Magica, Download Festival

15/07/18 – SWE, Gavle, Gefle Festival (

(photo credit: Steve Brown )

TesseracT are:

Daniel Tompkins – vocals

Amos Williams – bass

Acle Kahney – guitar

James Monteith – guitar

Jay Postones – drums




Lunatic Soul is Mariusz Duda, the talented creator, singer and multi-instrumentalist behind some of the finest and most captivating progressive music coming from Europe, including his output on UK label Kscope and with Poland’s shooting stars Riverside. Duda is now releasing his sixth studio album, the companion to 2017’s ‘Fractured’ and the pinnacle of the first decade of Lunatic Soul.

Following on from last year’s material, which covered content about grieving, hope and a fractured society, ‘Under the Fragmented Sky’ rebuilds Lunatic Soul as we know it, with dark and haunting atmospheres coming to the forefront, taking its name from the lyrics of the 12-minute epic “A Thousand Shards of Heaven” from Fractured. Duda explains “Fractured is not a full picture of the latest Lunatic Soul recordings. These more classical pieces have been waiting for their own time which has now come. “Under the Fragmented Sky” will be both a supplement to “Fractured” and an artistically independent release with its own character and identity.”

“It’s a very unexpected and spontaneous release” – says Mariusz Duda – “Initially, I was thinking about a maxi single “A Thousand Shards of Heaven” with a couple of other tracks but the material had evolved so beautifully in the studio that I ended up with 36 minutes of brand new music. It’s a truly enchanting album. 

“UTFS” is a music journey with very subtle electronics and vocal experiments, it’s incredibly coherent and much closer to the mood of the earlier Lunatic Soul albums. Thanks to “Under the Fragmented Sky”, the last red album will gain a fuller meaning and the whole Lunatic Soul discography will be enriched with another shade of my music fascinations, which have been suspended somewhere between life and death from the very beginning.”

The album was recorded during the Fractured sessions at Serakos Studio, Warsaw from June 16-17, and finalised December 2017 and February 2018. The final track “Untamed” sees a guest appearance on drums for Wawrzyniec Dramowicz (aka Vaaver). The album was designed and illustrated by Polish artist Jarek Kubick.

Under the Fragmented Sky will be released in the following formats on 25th May and is now available for pre-order here:

•LP – 180g heavyweight clear vinyl as a single LP in gatefold packaging.
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Photo of Mariusz by Oskar Vramka.


Now with 2 full length albums under their belt; 2017’s acclaimed ‘Tempest’ and their 2014 debut album ‘12 Areas’, Telepathy has been embraced with open arms by even the most unyielding fans of post metal, black metal, hardcore, doom and sludge alike; a testament to their inspired, nuanced and emotionally punishing take on metal. With such an array of styles and emotions forming a unique and cohesive whole, Telepathy displays an uncanny ability to unite fans of all types of heavy music and draw them into their mysterious and alluring world.

This summer they are set to head out on a series of tour dates across Europe with Dopelord, Rosetta and The Ocean alongside festival appearances at Desert Fest, ArcTanGent and Dunk Festival. Guitarist Richard Powley comments:
‘Playing live is the driving force of this band and touring is what we live for.  Since the release of ‘Tempest’ things have been getting bigger and bigger for this band and we’re honoured to be heading out on the road once again this spring!
We are of course thrilled to be playing select shows in the UK, Desertfest London as well as headlining the second stage of the amazing Dunk! Festival and supporting the Ocean Collective and Rosetta on a couple of dates before heading across Germany to Poland playing full headlining shows’
The spring of 2017 marked the release of Telepathy’s second sonic offering, ‘Tempest’. The 52 minute concept album; recorded at Orgone Studios with producer/engineer Jaime Gomez Arellano, enjoyed notably positive reviews across print media outlets, blogs and webzines from all corners of the globe and demonstrated a departure from their frenzied debut, ’12 Areas’.
The album depicted the harrowing journey of a person beset with grief and faced with total isolation after awaking from a great flood. ‘Tempest’ guides the listener on a journey through awakening, desolation and finally acceptance.
In support of ‘Tempest’, the band took to the road to stun audiences across the continent during 3 extensive tours of the UK and Europe. From performances in the clubs of the UK, France, Germany, the Netherlands, Belgium, Switzerland and Romania, to appearances at the legendary Roadburn Festival in the Netherlands, Berlin Swamp Fest and Into the Void Festival, the band’s furious live show has made Telepathy one of the most talked about bands in the heavy metal underground and has gained them a substantial and devoted fan base along the way, owing greatly to their unwavering commitment to touring and recording.
Telepathy tour dates:
30.04 Hull, Gorilla Studio^
01.05 Glasgow, Nice & Sleazy^
02.05 Manchester, Star & Garter^
03.03 Birmingham, The Flapper^
05.05 London, Desertfest
09.05 Nijmegen, Doornroosje*
10.05 Giessen, Post Valley Festival*
11.05 Dunk! Festival
12.05 Berlin, Jagerklaus
13.05 Dresden, Chemiefabrik
15.06 Jena, Cafe Wagner
17.05 Warsaw, Hydrozogadka
18.05 Gdansk, Protokultura
19.05 Wroclaw, TBC
20.05 Cologne, TBC
^ co-headline with Dopelord
* with The Ocean & Rosetta
16.06 Kiel, Explode Festival
17.06 Antwerp, Music City
18.08 ArcTanGent Festival

New video for ‘I Don’t Know Why’ by KINO featuring Pete Trewavas, John Mitchell and Craig Blundell

Kino are set to release their new album ‘Radio Voltaire’ on March 23rd, 2018, arriving 13 years after the band’s much-loved debut ‘Picture’ back in 2005. It sees John Mitchell (It Bites, Lonely Robot) & Pete Trewavas (Marillion) teaming up once more, with Craig Blundell (Steven Wilson) on drums & John Beck (It Bites) guesting on keyboards.

Yesterday saw the release of the third and final track to be taken from the album prior to release, titled ‘I Don’t Know Why’:

Pete Trewavas comments: “This is a kind of Jellyfish/Queen inspired song which I wrote just towards the end of the first Kino album sessions. It was just too late to be on the record but I remember playing it to John Mitchell while we were at his finishing off the ‘Picture’ album. At the time I expected it to be on the second album, which never happened until all these years later.”

The album will be available on Limited CD Digipak (including bonus tracks), Gatefold 180g Double Vinyl (incl. CD) & Digital Download. Digital pre-orders on iTunes and Amazon receive ‘The Dead Club’ immediately. Pre-order now here:

ecorded at the end of 2017, writing began at the end of that Summer. “We actually began the writing process in late August” says John Mitchell. “Pete had a few tunes and so did I, and we went from there.” Mitchell and Trewavas were both a crucial part of the original band more than a decade ago, with the former providing lead vocals and guitar parts, while the latter played his trademark bass lines and also contributed backing vocals.

Keyboard player John Beck, who is also a bandmate of Mitchell’s in It Bites, has been brought back. But while he was fully involved on the debut album, this time his role is that of a guest musician. “Yes, I am delighted to say we’ve gone John on board. His keyboard playing is splattered throughout the album, and I’ve also done the odd keyboard part myself.” The task of drummer this time fell to Craig Blundell, as Mitchell explains: “This time around Craig was the obvious choice to be the drummer, as far as I was concerned. I have worked with him so much that there was nobody else in the frame.”

Of the albums direction, Mitchell illustrates: “The title sounds very cool and obviously there’s a connection with the band Cabaret Voltaire. But Voltaire himself (the 18th century French philosopher) had a fascination with death, which appealed to me. He also stood for freedom of speech and freedom of religion. On top of that, I love the idea of a radio station that would reflect his views on life and cut through the bullshit which seems to be all over politics. Now, that is the type of radio station I think would reflect what a lot of us want to hear.”

The album cover has been designed by Paul Tippett, who is one of the most in demand artists of the modern era. “I like what he’s done with this sleeve. It reminds me of Moulin Rouge meets ‘Live And Let Die’. It is very striking, and I am sure everyone will have their own interpretation of what it reminds them of.”

The tracklisting can be found below:

1.Radio Voltaire
2.The Dead Club
4.I Don’t Know Why
5.I Won’t Break So Easily Any More
6.Temple Tudor
7.Out of Time
8.Warmth of the Sun
9.Grey Shapes on Concrete Fields
10.Keep The Faith
11.The Silent Fighter Pilot

Bonus Tracks

12.Temple Tudor (Piano Mix)
13.The Dead Club (Berlin Headquarter Mix)
14.Keep The Faith (Orchestral Mix)
15.The Kino Funfair

YES confirm Trevor Horn as Special Guest for London & Paris Shows

#YES50 TOUR commences Tuesday 13 March – Latest Tour News

  • Bristol and Manchester have now sold out. Other venues have extra tickets released. 
  • Trevor Horn confirmed as special guest at London [both shows] and Paris.
  • Fans considering Paris are advised to check the Olympia Box Office as this show has had a few more seats released which will sell out rapidly.
  • Founder member Tony Kaye is unable to appear on this side of the Atlantic but is slated to join the band in the USA in June and July.
  • Yes fans know how lucky they are that Yes music is still available to watch live, in these uncertain times. Don’t miss out on these shows.
  • This is the last chance for fans to see YES perform sides 1 & 4 (and an excerpt from Side 3) of iconic 1973 album Tales from Topographic Oceans – the first YES album to top the UK charts. Yes will, of course, be performing classic hits as well! It will also be the last chance for fans to experience Roger Dean’s spectacular Tales From Topographic Oceans video artwork, as it is set to be retired after the current run of dates.
  • The Officially endorsed not-for-profit Yes Fans Convention has some tickets available at £30 a head. It takes place over the weekend of March 24th & 25th at the London Palladium; the venue for the UK tour’s final two shows.
  • The convention includes 2 Yes tribute bands, Yes authors, displays, merchants, alumni, Roger Dean and Yes fans from around the globe.
  •  It will also host the launch party for the remixed version of YES’ 2011 album Fly From Here – Return Trip featuring newly recorded vocals by the album’s legendary producer Trevor Horn, as well as a bonus new track. It is the much-anticipated return of the ‘Drama’ line-up.

This new version of Fly From Here – Return Trip is being released independently by the band via the Pledge Music platform (pre orders available at:, alongside being available for sale at the convention.

Tues 13th        Bristol Colston Hall SOLD OUT
Weds 14th        Sheffield City Hall
Fri 16th        Glasgow SEC Armadillo LAST FEW TICKETS
Sat 17th        Manchester Bridgewater Hall  SOLD OUT
Sun 18th        Gateshead Sage
Tues 20th        Birmingham Symphony Hall LAST FEW TICKETS
Weds 21st        Brighton Centre
Fri 23rd        Liverpool Philharmonic Hall
Sat 24th        London Palladium LAST FEW TICKETS
Sun 25th        London Palladium (Gig and fan convention)
Tue 27th        Tilburg 013
Wed 28th      Antwerp De Roma
Fri 30th         Paris Olympia LAST FEW TICKETS
Tickets available from 24hr Ticket Hotline 0844 249 2222 (subject to fee). Also available from venue box offices and select authorised ticket agencies.
Front row, Meet & Greet & VIP packages are available from
(Band picture by Gottlieb Bros.)