Review – Maddison’s Thread – 60 Minutes An Hour – by Progradar

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“Some journeys don’t have endings, they lead to new beginnings. These are the journeys that lead to great adventures!”
― Alex Haditaghi

The quote above perfectly sums up the way that music has affected my life. From a young age it has always been a journey with no ending. There have always been new avenues to explore, new adventures to undertake and the more your mind is open to new and differing experiences, the more fulfilling that journey will be.

Starting with the pop-punk of The Police and graduating to the new romantics of Ultravox, Simple MindsDuran Duran and the like, my formative years were based more on the acts in the charts. As I grew older, my musical tastes changed and I went through the hair metal of the 80’s and early 90’s and even dipped a toe in the water of jazz and blues.

Eventually my heart found its home in the world of progressive rock, alternative rock and the ilk but I always had a penchant for something different, I was never one to pigeon-hole my musical tastes, if I like it, I listened to it. This mantra led to me hearing the first, self-titled, Maddison’s Thread album last year.

I was utterly impressed by the music and musician behind the project, Lee Maddison and it prompted these words from my review:

“Folk is rooted at the core of Maddison’s Thread but this album is all about the music and the way Lee can diversify with aplomb is very impressive. A contender for album of the year for me and one that will stay with me for a very long time.”

I became friends with Lee and that led to me being one of the first to hear the follow up to this little gem and I am proud to present the first review of ’60 Minutes An Hour’.

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The span of a human life, the rising and setting of the sun, the changing of the seasons, the rhythm of the ocean’s tide, the ticking of a clock. ’60 Minutes an Hour’ is an album inspired by the passage of time and the different ways we experience it.

Each song deals with a different facet of the swirling prism of time. From the racing heartbeat of contemporary urban life in the title track through to the romantic glimpse of immortality in the dream like A Thomas Hardy Evening the album captures moments on our collective journey towards the Elysian
Fields.

Lee Maddison is Maddison’s Thread. He released his début eponymous recording back in 2015 and this ishis second album. He works full-time as a Mental Health Nurse but has still found time to perform at various folk festivals and gigs, opening for the likes of Michael Chapman and Gren Bartley.

In the past year, Lee was commissioned to write a song for the award winning Terry Abrahams ‘Life of a Mountain: Blencathra’ and performed the song at the premiere. This was the second film in a trilogy about iconic lakeland mountains.

The musicians appearing on the album are:

Lee Maddison (acoustic guitar & vocals), Nigel Spaven (bass), Darren Moore (drums), Stewart Hardy (violin & viola), Brendan Murphy (percussion),  Paul Donnelly (electric Guitar & nylon String Guitar on tracks 3 & 12), Sue Ferris (flute), Fiona Beyer (cello), Tony Davies (piano & hammond) and Angus Lyon (accordion).

Edwina Hayes (described by Nanci Griffiths as the prettiest voice in England) duets with me on track 8 and sings backing vocals on tracks 11 & 13.

Produced by Stewart Hardy who also wrote all string arrangements.

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The opening title track 60 Minutes An Hour is a salutary lesson in why we should take life at a slower pace before it passes us by and we’ve missed the wonder of what is right in front of our eyes. Lee’s apprehensive vocal admonishes us for taking things for granted, his delivery is as excellent as ever and the wonderful music just adds to the garded atmosphere. The delicate acoustic guitar soulful bass and elegant percussion add sophisticated emphasis while the incredibly expressive violin of Stewart Hardy provides angst among the graceful strings and the talented Angus Lyon’s accordion gives the finishing touches as it does all over the album. It might only be the first track but I’m already hearing an added maturity to Lee’s music and songwriting, the music gently insinuates itself into your conscious as if it has belonged there all your life.

More and more people suffer from anxiety attacks, a feeling that something or someone is chasing you through your life and the jazzy vibe of Chasing The White Dove expresses that perfectly through music. A slightly frenetic tempo and Lee’s insistent vocal only increases the feeling and Stewart once again adds his staccato violin to the heady mix of restlessness and disquiet. There’s an effortless feel to the musical delivery, a wonderful freedom to the way these excellent musicians deliver the message in a profound manner. A highlight has to be the infectious and captivating guitar that leaves its mark all over this high energy urban thrill ride.

I first heard the wonderfully scathing Parasiteful at a cellar gig that Lee did earlier this year (funnily enough at the house of Lee’s long time friend and photographer Howy White and his wife Amanda, who also happen to have done the pictures that litter this review (Howy) and the album art (Amanda), it’s a small world!) and really enjoyed the biting satire that lee injects into his songwriting. His vocal is hard and unforgiving as befits the subject matter of this mild mannered protest song. The laid back music plays second fiddle to the intelligent and acerbic lyrics this time as Lee delivers his most vehement piece of music yet.

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A pared back folk tale of ne’er do wrongs, Charlatans & Blaggers puts you in mind of a local’s bar in a small fishing village in the wilds of the north. Tales told through the medium of music about local legends while the weather does everything it can to crash the party. The gentle guitar, easy going rhythm and percussion lay the foundations for Lee’s searching vocal and Stewart’s skill on the strings. An easygoing and unhurried ditty that leaves its mark with the catchy chorus that has me singing along, the bittersweet violin leaving a wistful note as the song comes to a close.

Another stinging rebuke to modern day, small town society, Tumbleweed has a laconic tone to it, enhanced by the slightly acerbic violin. A slightly ironic tune that, to me, seems to be about a younger generation stuck in a society with no opportunities. Lee’s distinctive vocal delivers the tale perfectly, there aren’t many folk singers out there to day who can stand comparison, and the edgy drums really add to the atmosphere while the super smooth bass keeps things ticking along nicely.

The Flycatcher (a cover of a Roy Harper song from his album ‘Unknown Soldier’) takes a winsome turn to sepia tinged nostalgia and the days of the past. The solemn, almost hushed vocals speak of looking back on days long gone, of things lost and yet never forgotten and the dynamic rhythm section and percussion deliver in a determined manner. The guitar almost has a voice of its own and marries with the dignified and reflective strings perfectly to give a really powerfully reflective edge. There is a melancholy feeling running throughout the song, the saddened voice keening for the past, of sorrow and not of hope.

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I really feel that Lee has taken on a much more traditional folk direction with this new release and his version of Lines On A Fisherman’s Wife, a 19th century poem that has it’s roots in Hartlepool’s headland and that he wrote the music and chorus for, is a perfect example of this. Somber, downcast and yet sweetly earnest, it wears its heart on its sleeve. Telling the tale of the Fisherman’s wife, the worry and the drudgery of daily life, waiting for her husband to return but not knowing if disaster may have befallen him at sea. There is an ageless grace to the this song, a respect for those that deal with the wild nature of the sea on a daily basis and those who support them. The pared back delivery is sublime and you find yourself listening to it in hushed appreciation and deference as Lee’s reverential tone and the simple elegance of the music combine flawlessly.

There’s a timeless grace to Love Like Autumn where Lee and Edwina Hayes deliver a beautiful vocal performance full of sentimentality and wistfulness. A hint of country seeps into the music and it adds a carefree and untroubled note to the song. Stewart’s delightful violin is the coup de grace, at its most exquisite on this delectable elegant track, lay back with your loved one in your arms and just enjoy the simple wonder of the music.

Weightless feels just like that, ethereal and unsubstantial, the breathless charm of Lee’s vocal and the simple artistry of the piano and violin leave you feeling like your soul has left your body and is flying above you, the whole world in view below. A really short but lovely song that seems to leave a sense of loss behind as it comes to a close.

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A heartfelt plea, Don’t Say Goodbye is a love letter to one who you don’t want to lose. Sincere and fervent, there is a mournful tone to Lee’s vocal as he makes his impassioned overture. The music is humble and modest leaving nothing to be misunderstood. The cello and violin are pillars of virtue and the guitar is a refined chaperone giving Lee’s entreaty validation. You are left hanging on a thread, wondering what the answer would be.

Another track rich in its folk heritage, Jessica is a perfect open letter to a loved one, it’s more simplistic lyrics Having even more meaning and power coming straight from the heart as they do. The playful, childlike music has a wide eyed wonder to it, Stewart once again excelling with his captivating violin playing. Lee and Edwina harmonise superbly on the chorus and you just find yourself caught up the overwhelming love and affection that this wonderful father has for his daughter.

A Thomas Hardy Evening is a romantic glimpse of immortality in a dream and is Lee’s take on the pure essence of life – reconnecting with the natural world. As the song fades in, you find yourself totally caught up in its whimsical, dreamlike delivery, every instrument seems to be played in a reverent fashion. The vocals just wash over you with their subtle elegance and I almost find myself rooted to the spot in a trance-like fashion. This song exhorts you to take a step back from the real world, forget the hustle and bustle and give your soul a chance to heal and your body to recharge. The subtle splendour of the strings and the delicate grace of the guitar appear to cleanse the stress and worries from deep within and you come to the end of the song a much happier and more relaxed person than when you started it.

A poignant memoir of family life and a coming of age tale,  Fledgling  leaves you caught in the last moments of a golden autumn. The fledgling of the title an allegorical creature that must go through the same trial and tribulations as every person who comes into adulthood. The flute taking on the role of the flying bird and giving it life through music. Lee tells us that the innocence of childhood is the same a s a bird flying free in the blue sky, it is a bittersweet tale of the loss of that innocence but then the hope of the future that is yet to come. Listen to the lyrics and let the pure guileless artistry of the music capture the moment for perpetuity, I was left with a lump in my throat as this brilliant song and album came to a close.

My lifelong musical journey has taught me that there will always be something of wonder around the next corner, a musical discovery that will enrich not just my life but many others also. The first time I heard Maddison’s Thread I was hooked and Lee has distilled the essence of everything that made the first album so good and injected it into his latest piece of musical brilliance. ’60 Minutes An Hour’ is an utter musical triumph and should be one of the highlights of 2017 for any lover of great music, I cannot praise it enough.

Released 6th Jan 2017

Pre-orders will be available soon from Maddison’s Thread bandcamp page

All pictures by Howy White

Album art by Amanda White

 

 

 

 

 

 

 

Review – Damian Wilson – Built For Fighting – by Rob Fisher

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I can’t help feeling there is something of an unfortunate disconnect between the expectations encouraged by the forceful and uncompromising visual imagery portrayed by the cover artwork and the reality of the music you find yourself hearing in light of those expectations. Whether this is something to do with a perception of Wilson’s image or persona because of his involvement with the heavier leaning music of Threshold or Headspace I’m not sure, but the overt portrayal of aggression and machismo is thoroughly unhelpful and actually serves to undermine what is an exquisitely compelling and unexpectedly beautiful album.

Wilson explains the rationale underpinning the album as giving voice to the daily experience of trying to carve out a meaningful, secure and even happy existence against all the factors and forces which are ranged against us. “Life is a fight. A never ending brawl and struggle to find a little peace.” The theme is certainly reflected in a lot of the tracks which appear on the album and goes some way to at least partially explaining both the image and the implied attitude which adorns the cover.

Yet you only have to listen to the elegant and graceful lyrics of the sublime Battlelines (Track 12) to understand that Wilson’s heart lies in an all together different direction. “It seems to me that through all this fighting that, mores’ achieved by words and writing than, any bullet fired through war and rage”. Or again: “I understand though I don’t like it that, we were made and built for fighting but, can’t we put those tanks and bullets away”. And then we reach the repeated refrain: “So what if we believe it’s all magical, If it was up to me, watch the mighty fall, we would all stand back and just laugh at war”.

Such an imploring and impassioned cry from the heart, reflected across so many of the songs on this staggeringly poignant album, gives voice to the crisis and the dilemma which shape and form the music and the lyrics. On the one hand the reality is that life is a battle, a fight, brutal, tough and unforgiving; on the other there is the recognition that actually all this is a senseless folly, meaningless posturing, a futile waste. There is a better, kinder, gentler and more human way of living. And it is the tension created from understanding that both these views hold true which lies at the heart of this remarkable and at times heart-breaking release.

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Two things quickly and forcibly strike you when you spend time with this album. The first is just how dramatically expansive and passionately expressive Wilson’s voice really is. Superb recording values let you hear with crystal clarity the incredibly diverse range he brings to each song, from the gentle and emotionally nuanced ballads all the way through to the feisty, rugged and good old fashioned heavy rock anthems. The vocal performance elicited by and expressed through the music is simply magnificent, a joyful master class which is a delightful privilege to hear, appreciate and enjoy.

The second is the sheer lyrical brilliance which shines so brightly throughout the album. Initially it is difficult to appreciate the hugely perceptive levels of insight, acumen and plain common sense wisdom which are carefully crafted within each song because your attention is always diverted elsewhere by other things. But the more you listen, the more you begin to pick up phrases and notice sentences which in turn lead you to pay a lot more attention to the skill and care which has gone into the song-writing.

‘Built For Fighting’ is an extraordinary achievement on many levels, not least of which is that it is a gem which hides in plain sight and runs the risk of being ignored precisely because of that. It is fiercely honest, impressively direct yet for all that, expressed in and through music which is delicately sensitive, powerfully moving and strikingly touching. By the end it leaves you in little doubt that it is a labour of love which rightly and quite unapologetically wears its heart on its sleeve.

I will be honest and say that on first listen I was distinctly unmoved, primarily, I suspect, because the combination of the cover in tandem with my existing familiarity with Wilson’s other work means I came in with all sorts of preconceptions which just didn’t gel or match up with the music I was hearing. It was quite an unexpected jolt, that is for sure! Now, however, I find I have fallen for it hook, line and sinker to the extent that it definitely stands as a significant contender for album of the year. Let it charm you, let it lure and entice you; you certainly won’t regret it.

Damian Wilson: vocals

With:
Lee Pomeroy – bass
Bill Shanley – guitars
Adam Wakeman – keyboards
Brian Willoughby – guitars

All photos of Damian by Marleen Den Brock Photography.

Released 9th September 2016.

Buy ‘Built For Fighting’ direct from the artist

Band Website: http://www.damian-wilson.net/
Facebook: http://www.facebook.com/officialdamianwilson
Twitter: http://www.twitter.com/damian_wilson
YouTube: http://www.youtube.com/damianwilsonofficial

 

 

 

 

Review – Encircled – The Monkey Jamboree – by Kevin Thompson

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It’s always nice to be appreciated for things you do, to be recognised for contributions you make. So I felt quite chuffed when Scott Evans of the band Encircled contacted me direct and asked would I consider doing a lead review of their new upcoming album ‘The Monkey Jamboree’. The initial elation then moved to trepidation as I realised the band had entrusted their blood, sweat and tears to my hands (I’ll wash them afterwards) and what if I didn’t like it or thought it couldn’t match their previous output? Ah, the heavy weight of responsibility.

Scott sent me the files including the cover (from the talented fingers of Freya Evans) which immediately struck me that it could have been a cave painting featured in Planet of the Apes, with See no Evil,  Speak no Evil and Hear no Evil adorning the front. I mentioned this to Scott and he explained “It’s a little nod to us being deliberately ignorant in our music to all that is going on in the world, like the anti ‘FEAR‘, (Marillion‘s latest delicious release and castigation of the human race), which on listening to the CD bears similarities at times in the style of music.

For those that don’t know the band are:

Mark Busby Burrows – Vocals and Guitar

Gareth Evans – Lead Guitars

Scott Evans – Bass/Keyboards/Programming

Stuart Picken – Drums

With Backing Vocals and Flute from Kym Hart.

This is not an album to rock out to and you will not get whiplash from throwing shapes with your waist length hair (ignoring the balding patch on top), in fact it’s the perfect antidote to this time of year as the weather worsens, the nights close in and the temperature drops. Grab yourself a large glass of red or in my case a good  couple of fingers of single malt from the bottle on the table and close the shutters on the windows. Stoke the open fire in the hearth, dim the lighting and curl up on the sofa with a blanket. Slip the CD in the Hi-Fi and press play……

The short, understated title track soothes you in with Mark’s warm vocals as you take a large sip of the amber nectar and feel the glow as it slides down your throat. The gentle vocal harmonising between Mark and Kym relaxes you further into the cushions, the song trailing away on a lingering note.

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Echoing notes intro and the guitar and vocals convince you this is ‘Alphabetically Possible’, in the second track that has more than a whiff of the lighter side of  John Dexter Jones and Jump. Your toes will tap under the blanket to the beat of Stuart’s drums, as the shadows formed by the fire flutter on the ceiling above your swaying head. Listen to Gareth’s first solo, joined with Scott’s keys whilst you refill the emptied glass.

Close your eyes and ponder on the ‘Complexity’ and pace of life as you sink another shot. Decisions to make, he (or she) who hesitates…overrun, overlooked, forgotten, lost. The highs and lows, make the most of the good times as there’s always someone to take your place, on this really smooth track with some great laid back guitar work from Gareth.

Grab yourself another snifter, a glance at the fire sees the flames dance as the foot tapping starts again to ‘Stereochrome’s funky little rhythm. Ruminate on the fact some people thrive on the modern pressures of life to the extent they can’t live without them, but not you at the moment. Recline and revel in the OMD like keyboard solo from Scott sliding into a Dr Who soundscape and ending on another fine guitar solo.

You begin to find the warmth of the whisky and heat from the fire quite soporific, lulled by the piano keys, make the most of this moment, this ‘Magic Hour’. Enjoy the soothing sounds of Rothery type fretwork, the gentle pulse of Stuart’s drums and Scott’s bass. Make the most of what you have now as everything must end, but maybe not until……

‘Tomorrow’ on the penultimate track which, after a few brief strummed chords, raises you from the reverie with a little more upbeat musing on the delicacy of relationships. Should we cling on or hold too close to be singed by the spluttering flames of a needy relationship? Treading on eggshells, will it fall apart acrimoniously and can we not stay friends? Just a little sip.

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You wake to find the room dark, only faint embers glow in the hearth and the temperature has cooled. Your head is filled with cotton wool as you survey the empty tumbler alongside the discharged bottle and try to piece together your thoughts on ‘A Life Shy of Perfection’. You rise, stretch then quell the remains of last night’s fire. Fold the blanket as you ponder what you have lost and how direction-less you have become. Make your way across the room and open the shutters on the grey streaked clouds of the winter morning as the last chords of acoustic guitar prod you to face the day ahead.

You pick up the glass and bottle then make your way from the room switching off the dimmed lighting and try Chasing the Ghost’ in your fogged brain as you make your way along the hall. Pale, milky light drifts in through the glass panes of the front door casting a faint shadow ahead of you as you retreat toward the kitchen and the tune builds. Your bare feet drop the step into the kitchen, slapping on the chilled tiles. The shock makes you shake yourself in an attempt to disengage the monkey swinging from the branches of your brain. The bottle is discarded in the recycling bin and the glass shunted next to the pile of dishes by the sink from the day before. You’ll wash them later, no time now. You pause briefly to look out at the sodden leaf smothered garden before turning to retrace your steps down the hall and up the stairs for a shower as the last song nears the end in a duet of piano complemented by Kym’s flute. You close the bathroom door as the album ends on a single tintinnabulation. Time to get going.

This is not an album to break new ground nor will it have you dancing round the room. Tempo rarely breaking above a sway, it’s a slice of sublime relaxation, to kick off your shoes and relax to. It will keep me company on many a dark winter’s night and should it take your fancy as the tipple of choice, drink well of it’s smoothly distilled texture and feel the glow inside.

 I’d like to thank Scott and the band for entrusting me with their latest blend and raise a glass to toast them, on an album well refined and produced by Shaun Lowe.

 If you want to know more you can check out:

 Twitter@encircledtheband

https://m.facebook.com/Encircletheband

https://encircled.bandcamp.com

 

 

Review – Maschine – Naturalis – by James R Turner

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Formed around the nucleus of insanely talented guitarist Luke Machin, and bassist Dan Mash (both of whom have played with artists like The Tangent) their debut album ‘Rubidium’ was released in 2013, and in an unrelated interview with Andy Tillison; he told me that I needed to listen to that album. Now when Andy Tillison recommends something you listen to it, and you know what, it didn’t quite grab me initially where it should have done. Don’t get me wrong, it’s a great debut album and Maschine are an insanely talented group of young musicians, but, for whatever reason whilst I enjoyed it, I never ‘got’ it.

However, this, only their 2nd album (and by some of the music on here, and the intricate blends of sound, would make you think they have been playing together forever) got me from the start, (so much so that, time permitting, I will be revisiting ‘Rubidium‘).

This 5 piece, formed at the Brighton Institute of Music in 2008 feature, as mentioned earlier, the talents of Luke Machin on guitar & vocal, Dan Mash on bass, James Stewart on drums, Elliott Fuller on guitar and Marie-Eve De Gaultier on vocals, flute and keyboard.

With a diverse range of influences across the board, and playing styles throughout the band, their real skill is pouring all these un-distilled musical ingredients into their crucible and creating a striking and original sound.

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The 6 tracks on here, (the shortest clocking in at over 5 minutes!) all relate to natural events and the interaction between nature and all it can throw at us. This isn’t a concept album as such, but more connected events around which the songs are allowed room to breath and develop.

Boy do they develop, the opening 11 minutes of Resistance, mixes in the beautiful guitar work that both Luke and Elliott bring to the branch, the whole gamut of musical styles and influences creatively held together, with more ideas to spare in these 11 minutes than a lot of bands have in 11 years. The most effective weapon Maschine have is the contrasting vocals of Luke and Marie-Eve, which works together in creating some beautiful harmonies and interesting, counterpoints. And that’s just in the first 11 minutes!!

One of my favourite songs on the album, Make Believe features some amazing vocals from Marie-Eve, with a wonderfully slow build up, whilst the keyboard textures and powerful drum and bass combo of Mash and Stewart hold the piece together allowing an astonishing solo from Machin to burst forward.

The other epic on the album, the closing 11-minute Megacyma recounts the story of the Japanese Tsunami of 2011 through one mans eyes. What a mighty storm of sound they create as the song builds to its climax. They pull out all the stops here, with hints of 70’s classic prog keyboards, heavy riffing and some intense electronic walls of sound, whilst the two voices combine to create a fantastic sound, and the symphonic edge to this mighty finale is absolute perfection.

Of the other tracks on the album, Night & Day with it’s aural soundscapes and WWII story is contemporary prog storytelling at it’s finest. Hidden in Plain sight combines many disparate influences into the nearest they get to a pop song, with some fantastically funky drumming from Stewart and more of those wonderful vocals and Whilst A New Reality is Maschine’s sound in microcosm, featuring some wonderfully fluid guitar, fantastic symphonic keyboard work, and the sound of a band firing on all cylinders.

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It’s absolutely fantastic that nearly 50 years into the genre we call prog that there are immensely talented creative musicians of this calibre who are prepared to take risks and imprint their musical vision on the genre instead of being held back by the genres self imposed limitations and sounds.

Maschine truly are the future, and this album will firmly cement their reputation as one of the finest bands in this (or any) genre.

A last minute ball over the line for album of the year? Got to be a contender…

Released 18th November 2016

Buy ‘Naturalis’ from Burning Shed

 

 

 

 

Review – John Wesley – a way you’ll never be – By James R Turner

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Those familiar with the work of Steven Wilson or Fish will know the name John Wesley, a prolific and talented American guitarist and songwriter whose been on the road supporting artists like Marillion and Steven Wilson, whilst also touring as part of Porcupine Tree, and has built up a solid reputation as a go to guitarist.

This latest album, his 8th and first since 2014’s ‘Disconnect’ see’s him successfully bringing together both sides of his musical personality into a song cycle that echoes the short stories of Ernest Hemingway, the title track, a way you’ll never be is named after one of Hemingway’s more famous short stories and focuses, with it’s driving guitar and pounding choruses, on the current fascination for being an online expert on everything, without ever having actually done anything.

The album is far heavier than it’s predecessor and features some strident and aggressive guitar work from John, with the metronomic and Floydian guitar work on to outrun the light being one of the stand out tracks on the album.

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Never one to stand still, or indeed make the second record twice, John is as interesting a lyricist as a guitarist, and his lyrics particularly on the silence in coffee and the revolutionist stand out, the latter having some astonishing staccato call and effect guitar work with the drums pounding out a King Crimson esque beat, before some smoothly fluid guitar work shines out.

This album is all about John Wesley the guitarist, and fits more in line with some of the more intelligent stadium rock, and that is by no means lazy labelling or a criticism, this is an album full of mighty mighty sounds, and big ideas and concepts, some heartfelt, some scathing. The brilliant sole instrumental unsafe space is Johns take on the ‘pampered millenials’ or ‘snowflakes’ as they call them stateside, banning things from campus because they disagree with them and shutting down free speech. It is also a jarring thing of beauty, where John lets his guitar do all the talking for him.

This is an album that is as progressive as it gets in the truest sense of the word, an artist moving forwards, making records the way he wants to make them and taking the audience a long for the journey, it is also a success in the way it marries Johns well observed songwriting with his sublime guitar work.

Released 7th October 2016

Buy ‘a way you’ll never be’ direct from John Wesley

 

Review – Arcade Messiah – III – by Progradar

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“We are consciousness examining and expressing itself so that it can become increasingly aware of its infinite capacity for being and evolving.”
Jay Woodman

On the 11th of December this year I shall return to The Bedford in Balham to attend the Masquerade one day festival. This will be the first time I have attended this music venue since the life-defining four days of the Resonance Festival in August. 2014.

Suffice to say those wonderful four days really were my epiphany when it came to the world of music that I now find myself deeply involved with and I will never forget the people I met over that weekend, many of whom have become very firm friends.

My musical tastes and my writing have definitely evolved and progressed since that time and it would be fair to say that the majority of musicians that performed at the festival have developed further and matured as artists as well. One musician I was keen to meet there, and one whose career I have followed before and after Resonance, is John Bassett, erstwhile driving force behind the band KingBathmat and the solo instrumental project Arcade Messiah.

It is the third album (imaginatively called ‘III’) from this solo project that I am reviewing today but, as ever, first we  must have some background and history…

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John Bassett is an English multi-instrumentalist and producer who currently resides in Sligo, Ireland. Primarily known for writing and producing the music for cult Hastings band KingBathmat, his most recent project Arcade Messiah blends Post Rock, Metal, Doom and Stoner rock into a heavy intoxicating instrumental brew.

All instruments on the Arcade Messiah albums are played by John alone and released through his own Stereohead Records label, making them very much independent DIY releases.

‘III’ is the third Arcade Messiah album in as many years to be released by John Bassett and he had this to say about the album;

“Arcade Messiah III has certainly been a labour of love for me, this is the most I have refined a record to the degree that I have done with this album, I incorporated many new production techniques and have learned a lot from the experience of putting this record together. I’m very excited to release this out into the wild and I hope you guys enjoy it.”

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I reviewed Arcade Messiah ‘II’ last year and had these words to say;

“A ‘Wall of Sound’ that makes Phil Spector’s look like a diminutive picket fence and it is quite possibly the best thing this highly talented musician has ever produced.”

John is going to have to go some with ‘III’ to improve on that…

Revolver powers in with an immediate blow to the solar plexus from a monstrous riff that just carries all before it. The cacophony of guitars and drums that follows is just deliciously intense and mad surging ahead on a humongous soundwave of monumental noise and then, hark, what is that? Vocals, yes vocals! but only for a short while and, once you’ve got over the shock, it’s back on the proverbial manically enjoyable hell ride of musical virtuosity. Such a dense and compact sound, it really does pack a powerful punch and the coruscating guitar breaks just add the final touch of demented class. There’s a short break of a more delicate variety but, as it all comes to a close, it’s all you can do to stay upright in the face of such a pleasurable sonic onslaught.

Citadel, even the word conveys thoughts of a steadfast, immovable structure, one that has stood the test of time, war and destruction over a span of centuries and this track lives up to that definition. There is an age old primordial and primitive force at work here and this absolutely gigantic and rudimental riff feels like it has spanned the ages with its weighty and portentous feel. Now you know what Atlas felt like carrying the Earth on his shoulders, there is a supreme density and weight of knowledge at the core of this thunderous song. Almost a soundtrack to the age of Knights and siege engines, it pins you to the floor with its substantial tone. There’s a lull in the middle, like a break in the never ending battle between good and evil, before the dynamic drumming joins the compelling guitars and the hypnotic music powers on. To use a well known phrase from Queensryche’s ‘Empire’, it really does ‘…hit you like a ten ton heavy thing…’

The longest track, coming in and just over ten minutes, Deliverance is, in my opinion, the best track that John has produced as Arcade Messiah. A slow burning, slightly hesitant opening of piquant guitar notes over shadowy keyboards gives an air of mystery and intrigue. The tempo increases with the jingling guitars leading the way, you almost feel like you are being taking on a journey, one where you have no idea of the destination. For those of a certain age, the title will bring thoughts of Burt Reynolds and hillbilly America and you do feel like you could be lost in the deep forest with all sorts of creatures watching your progress waiting to pounce and the tension increases when the riffs begin, aggressive and potent. There is an urgency to the guitars now, both more critical and serious as the overlaying vocal of the title rings out. It is a rush to find succor and shelter, to escape the unknown that lurks in the dark behind the trees and your heart beat increases to match the pace of the music. This song really does get you involved, placing you right in the middle of proceedings, the hunted trying to outwit the hunter, it is really clever how you find yourself as the centre of all that is happening, hanging on every sound and, as the last notes ring out, relief just washes over you.

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The feel changes a bit with Life Clock, there is still that vitality and depth to the music but the monstrous, mountain toppling riffs take a back seat for once. A pensive, thoughtful tone exudes from the guitars and seems to soften the sharp edges of the tones coming forth. A feeling of treading water ensues, anticipation or meditation? who knows? I feel an expectation in the air, contemplation of what has gone before and, also, what is now to come. Like the ticking of a clock in a silent room, time still passes whether we are there to observe it or not and, while we live our lives, the days, months and years will continue to accumulate. It is only music, no words, but I get the feeling that we are being taught a lesson here, don’t let life pass you buy, live every moment with no regrets as we are a long time dead, the pugnacious riffing and energetic drumming that close out the track seem to imply that time is running out to do so…

Crunching riffs, immense in scope, lead in a towering tsunami of sound as Black Tree lurches in to view, like some vast mammoth of noise. It almost overwhelms you with its intensity yet you would die happy, like a man drowning in vat of the best malt whiskey. There are the odd interludes where the ferocity and tension lull for a short while but the potent fervor is soon ramped up again and the substantial music regains its impetus and momentum and rides roughshod over all that is unfortunate to get in its way, the unstoppable dominance there for all to see.

After the forceful intensity and enduring dominance of what has gone before, Sanctuary is exactly what you need and it is delivered beautifully by the closing track to the album. A delightful blend of guitars, drums and keyboards that has a soothing effect on your bruised mind and soul. The elegant guitar tone still has a life and vibrancy to it but, this time, it is not trying to pound you into submission. The drums are composed and precise and add a cultured layer to the track and mean it is one that you can let wash over you and reinvigorate you, it is still, obviously, John’s distinctive sound but with a restrained and relaxed feel to it. Don’t get me wrong, I love the huge, continent crushing sound that this amazing musician can generate but this just ends the album on such a lovely, high note and works perfectly.

So does ‘III’ improve on ‘II’ or is it left trailing in its wake? There’s a subtle change of tack going on here as well, a more mature feel to the music, John Bassett can riff with the best of them but has added other strings to his bow in his continual quest to improve as a musician, he has evolved once again with this excellent release, he is really at the top of his game and making his ‘Wall of Sound’ become even more of a unique and elemental force. If I did ratings this would be 9/10 without any argument whatsoever.

Released 25th November 2016.

Buy Arcade Messiah ‘III’ from bandcamp

 

 

 

 

 

 

Review – Seven Impale – Contrapasso – by Shawn Dudley

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The opening lurching guitar/organ riff sounds like the amplified machinery of a giant steamship; bellowing, relentless, ominous power.  Then it morphs into a straight, almost funky propulsive groove with some very tasty organ comping while various synth and vocals effects weave in out of the background like a swirling mist.

The vocals of Stian Okland float in over the groove sounding not unlike a Satanic Jim Morrison, like a dark mirror image of The Soft Parade; simultaneously eerie and darkly comic. Saxophonist Benjamin Mekki Wideroe makes his entrance next with a frenzied atonal break. Underneath the vocal line the linear progression of the piece continues to build in intensity, the groove turning ominous, dissonant snatches of piano and sax riffs stab through creating a frenzied whirlpool.

A melodic organ & sax unison line enters and holds the arrangement together, keeping it from exploding into complete cacophony.  Then it stops abruptly, giving the listener a split second to inhale, before a crushing doom riff hammers down…

That describes just the first four minutes of Lemma, the opening track of the joyously insane ‘Contrapasso’, the second full-length release from Seven Impale.  This young sextet from Norway has hit upon a really potent recipe, an almost dizzying combination of influences they’ve managed to assimilate and combine in consistently surprising and effective ways.

It’s fiery, intense music, but it’s so much fun that it’s accessible despite the artfully schizophrenic arrangements.  From an instrumental standpoint Seven Impale employs a mostly analog approach; Hammond organ, vintage synth and guitar sounds, saxophone, and they occasionally sneak in some more modern touches.  But this is not a retro band; this is a young adventurous group that’s unafraid to be daring, to experiment and most importantly to have fun doing it.

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A key factor with their sound is how the saxophone is employed. While I’ve heard saxophone featured in a few progressive rock albums this year (Knifeworld, Thank You Scientist, etc) it’s primarily fairly straight-ahead in approach. Seven Impale is one of the few newer bands I’ve heard that gravitate more toward the avant-garde jazz albums of the late 1960s for inspiration.

For the most part it’s not completely outside, but more in line with players like Archie Shepp or Pharoah Sanders.  The jazz quotient on ‘Contrapasso’ is intrinsic to the success of these compositions. The majority of these songs aren’t based on traditional verse/chorus structure, but the saxophone is often used in conjunction with the keyboards to carry the melodic thrust of the song, while the vocals provide commentary.

When you combine those elements with the 500 ton weight of the guitar sound (a vicious combination of King Crimson and Anekdoten) it’s a beautiful noise.  It hits the sweet spot where the saxophone fuels the experimental portion while the guitars keep it primal and firmly rooted in rock.

The album is not without its catchy moments. Inertia grooves along on a heavy guitar/sax unison riff that would probably sound fantastic in a live setting and the brief chorus is infectious.  The mid-section is a fiery jam and guitar solo feature, which tips a hat to Fripp & Co.  After a return to the main theme it slides into an effectively trippy psychedelic section that features some lovely keyboard & vocal harmonies before seguing into an appropriately epic, melodic conclusion.

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The remainder of the album unfolds along similarly complex and intriguing lines. Like a puzzle that keeps revealing more and more levels of complexity it’s an album that takes some effort. But what I love about albums this dense is that each time you play them some new moment jumps out.

I love the whole record, but there are a couple tracks that really stood out to me.The first is Langour, which brilliantly captures the juxtaposition between the beautiful sax & cello melody and the crushing metallic guitar riff, it’s a perfect demonstration of the power this group can wield. The other is the mind-bending Helix. It’s built off the simplest of structures, a repeated keyboard riff that is methodically augmented with other instrumental voicings and increases in intensity like a storm building before the deluge. If the description sounds dramatic that’s because the music does as well.

It has been awhile since a new band has really hit me with the audacity of their approach and how effortless it seems. Seven Impale is the kind of band that reminds me that experimentation, even if it’s experimentations within existing sonic frameworks is not impossible. There are still fresh avenues to explore within the progressive rock realm, I hope Seven Impale continues the search for a long time to come.

Released 16th September 2016

Buy ‘Contrapasso’ from Bandcamp

Iconic Eye – New Line-Up Announcement

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Iconic Eye unveiled their new line up to the public at noon on Saturday, November 19th, 2016, via Facebook.

The band has replaced Tim Dawkes with Jane Gillard. The band wanted a singer who has a passion for their live performance. As the new front woman of the band, Jane will be leading all Iconic Eye interviews, which can be requested at http://www.iconiceyemusic.com/contact/

The band has also replaced Neil Fraser with Robin Mitchard. At only 22 years of age Robin brings bounce and youth to the band, together with a playing ability that belies his age. Both Jane and Robin will both be involved in song writing for the 2nd album, together with all existing members.

The band will have re-recorded “All she needed” and “Let it rain down” with the two new members and videos for both tracks can be seen below.

 

Band and Brewery Release an Album on a Beer Can

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(Album cover by Creative Outlaw)

The Lights Out and Aeronaut take a T.R.I.P.

Beer and music have enjoyed a long history together. Now they’re taking the next step in their relationship.

The Lights Out, a music and light project that takes people on a journey through parallel worlds, and Aeronaut Brewing Co. have collaborated to create ‘T.R.I.P.’, a sci-fi album and an adventure beer.

The album explores the idea that our observable universe is one of many — a multiverse — where everything possible exists somewhere. It was inspired by the theory that each of us has infinite reflections of ourselves, living alternate lives. Each song on the album was written as a report back from another reality visited by The Lights Out.

The beer is an Imperial Session IPA – a paradox in a can – representing the full range of possibilities, brought together in a supremely drinkable offering by the intrepid brewers at Aeronaut.

This fall, drinkers who purchase cans of T.R.I.P. beer will find instructions on the label to obtain a copy of the ‘T.R.I.P.’ album, by taking an action on social media.

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(This photo & cover picture by Erin Genett)

“The beer fuels your trip through the multiverse, and the album is the soundtrack to that journey,” said The Lights Out guitarist Adam Ritchie. “Aeronaut embraced the spirit of this album from the start, and was the perfect co-pilot to help us bring T.R.I.P. into this reality.”

“We designed this beer to pair with the album,” said Aeronaut CEO Ben Holmes. “It’s packed with galaxy hops, clocks in at 7.5% ABV and is refreshing to drink,” he said.

The beer’s artwork was created by Raul Gonzalez, and features the pandimensional pilot character from The Lights Out, and the band’s Color Machine – the vehicle that takes them between dimensions – flying through a wormhole.

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“A fragmented and highly-competitive media landscape means bands need to come up with new ways to release material,” said Ulf Oesterle, chair of the Department of Music and Entertainment Industries at Syracuse University. “Most beer and brewery collaborations are with legacy acts like AC/DC, Kiss, Iron Maiden and Queen,” he said. “None of them have used beer as a format to release a studio album. The Lights Out is venturing into new territory.”

Invention and performance are main ingredients of both The Lights Out and Aeronaut. For live performances of ‘T.R.I.P.’, The Lights Out pioneered a wearable light show, synchronized with the music, and Aeronaut is earning a reputation for its live music showcases as much as for its experimental brewing.

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(Picture by Mary Bonaparte-Cerone)

It’s been a big year for both The Lights Out and Aeronaut. In addition to completing work on ‘T.R.I.P.’, The Lights Out opened for Andrew W.K. and members of Dream Theater, King’s X and the Dixie Dregs. Aeronaut organized a popular summer music series and won its first gold medal at the Great American Beer Festival.

The Lights Out blends genres and technology to reinvent the experience of seeing a live band. For music, tour dates and news, visit http://thelightsout.com.

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(Album insert by Creative Outlaw)

Aeronaut is a craft brewery and foods hub under one roof. Its inspired team of brewers and scientists collaborates with farmers and food makers to drive the invention of craft beers and spur a renaissance of local victuals and industrial revitalization. To see where Aeronaut is carried, visit the beer finder at http://aeronautbrewing.com.

 

 

BLACK STAR RIDERS release “When The Night Comes In” lyric video

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Nuclear Blast are pleased to announce the release of Black Star Riders third studio album, “Heavy Fire”, in February 2017. The band will support the album with a full UK and Eire tour in March 2017. New single When The Night Comes In lyric video available here:

The band’s previous album, The Killer Instinct, was released in 2015 to widespread critical acclaim and went on to score multiple radio playlists. A solid year of worldwide touring culminated in December 2015 in an UK arena tour alongside Def Leppard and Whitesnake.

2016 saw the band return to the studio with “The Killer Instinct’s” producer Nick Raskulinecz (Rush, The Foo Fighters, Mastodon), at his studio just outside Nashville. The resultant album is Black Star Riders most accomplished work to date. From the immediate riffs of album opener “Heavy Fire” to the instant hooks of first single “When The Night Comes In”, from the dirty bass groove of “Thinking About You Could Get Me Killed” to the familiar and trademark dual guitars of Gorham and Johnson on “Testify Or Say Goodbye”, this is an album that will further cement BSR’s reputation as one of the world premiere rock acts.

“Angst, passion, power, glory, love, truth, lies, loyalty, questions that begged to be answered. There’s a guitar army coming…and it’s bringing the ” Heavy Fire””Ricky Warwick (vocals), Black Star Riders.

“”Not many new bands get to record three albums these days. Without doubt this is BSR’S best album so far. We had a great time recording it and can’t wait to play the new songs live on tour in March.” Scott Gorham(guitars), Black Star Riders

Following on from their critically acclaimed albums ‘All Hell Breaks Loose’ and ‘The Killer Instinct’ which have paved the way for Black Star Riders to be recognized as a power force in the modern day of Rock n’ Roll, ‘Heavy Fire’ will be once again released by Nuclear Blast Entertainment.  The band have also brought in Pledgemusic, one of the most innovative and successful platforms of the modern music world, to give fans extra special product and experiences to go along with the album’s release.

Formats: Limited Edition Digibook CD (inc bonus track), CD, Vinyl, Vinyl Pic Disc, Digital Album
Mail order: Limited Orange & Clear Vinyl
Tracklistings below:

CD
1. Heavy Fire
2. When The Night Comes In
3. Dancing With The Wrong Girl
4. Who Rides The Tiger
5. Cold War Love
6. Testify Or Say Goodbye
7. Thinking About You Could Get Me Killed
8. True Blue Kid
9. Ticket To Rise
10. Letting Go Of Me

The Limited Edition Digibook CD will have above Tracklisting plus
Bonus Track
11. Fade

Limited Edition Gatefold Vinyl
Limited Edition Picture Disc
Side One
1. Heavy Fire
2. When The Night Comes In
3. Dancing With The Wrong Girl
4. Who Rides The Tiger
5. Cold War Love
 Side Two
1. Testify Or Say Goodbye
2. Thinking About You Could Get Me Killed
3. True Blue Kid
4. Ticket To Rise
5. Letting Go Of Me

Pre Order the album here:
Limited Edition Orange and clear vinyl – http://www.nuclearblaststore.co.uk/shop/nuclearblast/products.php?cat=4206

Limited Edition Digibook CD, CD, Vinyl & Vinyl Pic Disc @ Amazon:
https://www.amazon.co.uk/s/ref=nb_sb_noss?url=search-alias%3Dpopular&field-keywords=black+star+riders+-+heavy+fire

Digital Album @ iTunes – pre-order now and get the track ‘When The Night Comes In’ instantly:
http://nblast.de/BSRHeavyFireIT

After a full year off the road, Black Star Riders  (Ricky Warwick, Scott Gorham, Damon Johnson, Robert Crane and Jimmy DeGrasso) are back with a 16 date UK & Ireland run, joined on the first five dates by Scottish rockers Gun and The Amorettes and then Sweden’s own Backyard Babies with Gun on the remaining 11 shows.

Dates for Black Star Riders 2017 UK & Ireland Tour are:

W/ Gun and The Amorettes (below)
Thursday 2nd March                                                   Tramshed, Cardiff
Friday 3rd March                                                          William Aston Hall, Wrexham
Saturday 4th March                                                    Academy, Dublin
Sunday 5th March                                                       Limelight, Belfast
Tuesday 7th March                                                     Ironworks, Inverness
W/ Backyard Babies and Gun (below)
Wednesday 8th March                                              O2 ABC, Glasgow (Co-Headline Show with Gun)*
Thursday 9th March                                                    O2 ABC, Glasgow (Co-Headline Show with Gun)*
Friday 10th March                                                       O2 Academy, Newcastle*
Saturday 11th March                                                  O2 Academy, Leeds*
Sunday 12th March                                                     O2 Ritz, Manchester*
Tuesday 14th March                                                   Rock City, Nottingham
Wednesday 15th March                                            UEA, Norwich
Thursday 16th March                                                 O2 Academy Bristol*
Friday 17th March                                                       O2 Kentish Town Forum, London*
Saturday 18th March                                                  O2 Institute, Birmingham*
Sunday 19th March                                                     O2 Academy, Bournemouth*

Tickets are onsale now. For Ticket Info please visit www.blackstarriders.com
* Tickets from ticketweb.co.uk

“Heavy Fire” is released through Nuclear Blast on the 3rd February 2017.

(Featured Image Photo Credit – Robert John)