Review – Dim Gray – Firmament

“When I hear music, I fear no danger. I am invulnerable. I see no foe. I am related to the earliest of times, and to the latest.” – Henry David Thoreau.

Norwegian art-rock trio Dim Gray burst onto the scene with their debut release ‘Flown’ in 2020. Described as “Elegiac and beautifully dense post-prog from Norway” by Prog Magazine, it earned them many plaudits.

‘Firmament’ is that difficult sophomore album that hasn’t proved at all difficult to the three band members, Oskar Holldorff (vocals, keyboards), Håkon Høiberg (guitars, vocals) and Tom Ian Klungland (drums, vocals). All three have contrasting musical backgrounds in genres as diverse as black metal, rock, blues, folk and film music and it’s the fusion of all these influences that has created their own distinctive sound.

Having issued ‘Flown’ via their own Dim Gray label, ‘Firmament’ will be released on Big Big Train’s ‘English Electric Recordings’ label with Gregory Spawton of BBT commenting: “Until now, the label has just been a vehicle for Big Big Train and BBT band members’ outside projects. We’ve been interested in expanding the label’s activities for some time but only wanted to do so when we came across a truly exciting band that we felt had something new to offer musically. When we were introduced to Dim Gray, we saw that the band had enormous potential and were very keen to sign them.”

‘Firmament’ is twelve tracks of captivating, wide screen music featuring lush electronics, hauntingly beautiful vocals, string-infused chamber pop and indie-folk, all delivered in a grandiose fashion.

From the first notes and the enthralling charm of opening track Mare, you cannot help but be immersed in this utterly spellbinding and vivid musical world that the band have created. The elegant chiming notes that emanate from Høiberg’s guitar and the uplifting seduction of Oskar Holldorff’s voice immediately grab your attention and this just carries on through the whole album. The hypnotic Ashes with its strident beat and outpouring of emotion makes way for the equally impressive Undertow, a wonderful, slow burning, piece of music with the ethereal, wistful power of the strings at its heart, it is just exquisite.

There’s confidence and power to Avalon | The Tide, an irresistible force bursting with life that lifts you up and takes you on a musical thrill ride and it’s totally addictive. A calm and somber aura falls as you hear the opening strains of 52~, a mesmerising and hypnotic song that is also at times completely inspiring. Abalus | In Time has a breathless innocence to it that is beguiling. When the song blooms it becomes something more powerful and dynamic, almost becoming alive.

There’s a raw simplicity to Long Ago, the piano and vocals having a plaintive feel before the song waxes and wanes with a stylish guitar and elegant drums occasionally breaking the calm, a very moving piece of music. A hush descends as Oskar’s wistful vocal opens My Barren Road. Such an emotive song, it invokes feelings of longing, a yearning for the wilderness and the open road, close your eyes and you could be there. Cannons seamlessly blends art rock with indie folk, delivering a piece of music that just seems to dance across your soul with elfin-like wonder, something that exists on a higher plane and is always just out of reach.

The intro to Iron Henry is ghostly and introduces another exquisite slice of art rock, the piano and strings adding an air of authority but, despite the occasional moments of majesty, you never get away from that feeling of plucking at thin air, like its substance is almost intangible. Title track Firmament carries on that nostalgic feel, a graceful piece of music that tugs at the heartstrings with its wistful longing. Meridian takes its position as album closer extremely seriously, the elegant strings, hushed piano and thoughtful vocal adding serious gravitas to its otherworldly sophistication.

I was seriously impressed with Dim Gray’s debut release ‘Flown’ but the last forty five minutes has shown me that this band have elevated themselves to another level entirely. ‘Firmament’ is a magnificent achievement, twelve songs that ebb and flow superbly and sum up perfectly what music is truly about. These three truly inspiring musicians have created something that is prime and organic, their music can get under your skin and influence your very moods and my life would truly be a much sadder place without it!

Released 2nd September, 2022.

Order from Burning Shed here:

Firmament (burningshed.com)

Review – Shriekback – 1000 Books

“A book read by a thousand different people is a thousand different books” – Andrei Tarkovsky

“1000 Books is Shriekback’s 16th album and boldly marks the band’s 40th birthday. Big numbers for a big record – this is Shriekback in depth and detail, nine songs by turns majestic, elegiac, confrontational and just plain funky. The lyrical reflections on mortality, sensuality and the world we live in are carried along on impeccable multi-layered grooves, lucid and lunatic. The contributions of core members – Barry Andrews, Martyn Barker and Carl Marsh – are supported by the passionately precise backing vocals of long-time collaborators Wendy and Sarah Partridge, the assertive bass of Scott Firth and sonically framed with wide-screen vision by producer Christoph Skirl. Take something from this record and plant it in your life: it will grow with you.”

Shriekback have been doing their thing since the 1980’s but I got introduced to them by Martyn Barker, founding member and guitarist extraordinaire, after reviewing his wonderful solo album ‘Water & Stone’. The music couldn’t be farther apart with Martyn’s solo work being folk and Celtic influenced and Shriekback being, well, totally different! Electronica, experimental, indie-rock, funk and ambient, just about everything makes an appearance in ‘1000 Books’ forty-one minute running time.

If I’m being brutally honest, I could not make my mind up about this album on the first few listens with it being both intriguing and challenging at the same time but that’s what is so wonderful about a lot of music, sometimes it requires you to give as much as you take from it. With repeated listens this compelling and provocative album will finally open up and reveal its inner glories to you and, while it may not be for everyone, I found it utterly fascinating, thought provoking and, in a very good way, strange.

There’s a Victorian grandeur to opener Space In The Blues, all majestic with its faded pomp and splendour and a feel of ‘Pablo Honey’ Radiohead to its mesmerising rhythm. A funky bass, drums and guitar open Unholiness, a song almost too cocksure for its own good but, as it opens up, it has real good time vibe to it, I can almost hear an influence of the The B-52’s creeping in, an invitation to join the wild ride and it’s damn infectious too! Portobello Head is a venture into the unknown with a mad professor edge to it and a feel that David Byrne could have written this slightly maniacal song. It is utterly brilliant and darkly delicious, the band seemingly enjoying themselves way too much!

With lyrics delivered as if in a lecture, Slowly At First Then All At Once opens with a relatively calm facade and carries on with whimsical and wistful overtone. I’m waiting for that tongue in cheek enthusiasm to erupt but Shriekback surprise me by delivering something that wouldn’t be amiss on an early Pink Floyd or Gentle Giant release. That David Byrne influence mentioned earlier makes a return on the silky, stylish grooves of Good Disruption, a slice of New York indie-funk at its finest, sharp suit, white shirt and pencil tie a must. Edgy, earthy and hip, there’s a dark undertone to the moody and impulsive Everything Happens So Much, cabalistic disco rhythms abound as the menacing vocals raise the hackles.

Different Story is just joyful, swirling keyboards and a superb drumbeat underpinning a rather impressive song with a really catchy chorus. There’s an 80’s pop music polish to this really engaging piece of music. A hushed wonder seems to herald title track 1000 Books as the majesty and grandiosity of the opening track makes a return. There’s a tense atmosphere as the song seems to rumble on inexorably in its own mysterious fashion, “A book read by a thousand different people is a thousand different books”. The album comes to a close with the futuristic, almost alien, wonder of Wild World, an entrancing four and a half minutes of music that makes you look inward at your own self and invites a feeling of calm inquisitiveness.

‘1000 Books’ is not a just 9 tracks of music, Shriekback have created an engrossing and magnificently offbeat musical experience, at times intensely serious and at others, beuatifully chaotic. It may be a wild ride but, my friends, it is one that I would urge you to take because you will never have heard anything quite like it. On a most basic level, it just made me smile for a very long time and you can’t really ask for much more than that, can you?

Released 1st December, 2021.

Order direct from the band here:

shriekback – STORE

Listen to the album here:

https://shriekback.com/music

Review – The Wynntown Marshals – Big Ideas

Music can take you to many places, in reality and in your mind. My musical journey has led me to discover many new artists and fall in love with styles of music that I just never would have thought would have appealed to me.

Take The Wynntown Marshals, this highly accomplished Scottish Americana band, proclaimed ‘Europe’s best Americana band’ following the release of their debut full-length album ‘Westerner’ in 2010 and lauded by such music business luminaries as BBC Radio 2’s Bob Harris, only showed up on my radar due to legendary Scottish proggers Abel Ganz and the fact that The Marshals’ guitarist, the highly talented Iain Sloan, was a member of the Ganz’s live band at the time I was reviewing their self-titled 2014 release.

There’s no such thing as a coincidence, they say, and I became firm friends with Iain who then introduced me to The Wynntown Marshals and the rest is history. The band were due to release their third album, ‘The End Of The Golden Age’, in 2015 (which I duly reviewed) and I’ve been a big fan ever since!

“Work on the band’s long awaited fourth album, ‘Big Ideas’,originally started in 2018. The intervening years saw a line-up change and the confines of the global pandemic inevitably slowed progress, but the resulting album is arguably the highlight of the band’s 15-year career. Engineered and recorded with long-time collaborator Andrew Taylor of Dropkick, mixed by Garry Boyle at Slate Room Studios and mastered by Stuart Hamilton at Castlesound, the record is sonically a step above previous releases, and the mix allows the lush, vibrant instrumentation to take centre stage, providing the ideal backdrop to the recurring lyrical themes of nostalgia, love and loss.”

That’s what the PR says and I have been lucky enough to have spent the last three or four weeks delving into this latest gem from The Marshals so here is my take on what these talented lads have delivered.

The driving, strident piano opening of first track, the rockingly joyful New Millennium, sets the tone for the rest of the album, it’s an unapologetic, in your face song with an underlying joyfulness that is just highly infectious. The jangling guitars of title track Big Ideas herald a more serious song about the pitfalls of society’s relationship with, and reliance on, social media. The tone gives a feel of The Smiths but without Morrissey’s hang ups! It’s a handsome piece of music and Keith’s vocals give it the necessary gravitas and conviction.

The mood quietens with the next two tracks, the laid back and wistful Tourist In My Hometown is an utter delight, this nostalgic and thoughtful piece of music wraps you in its many charms, the beautiful keyboards are a particular delight and Keith’s vocals once again shine. The mournful strains of Iain’s pedal steel guitar open the heartbreaking The Pocket, an emotive story song inspired by the historic battle for Stalingrad. This track just bleeds emotion in every note and word. Plaintive and contemplative, its is a melancholy wonder.

The tempo rises and the mood is lifted by the faster paced Learn To Lose, a reflective country rock track that the legendary Tom Petty would have been proud to have written. The lyrics are perfect and give a feel of longing, regret and a yearning for the past and the music is just top drawer, the instrumental break in the middle is just genius! The Missing Me has a hypnotic feel to it, the music mesmerising and soothing and Keith’s vocal is spellbinding. There’s a touch of Chris Isaak to this song, Iain’s guitar adding even more of a haunting, mysterious edge to proceedings, a definite highlight so far.

Almost a perfect piece of music, time seems to slow when the opening bars of Keys Found In Snow kick in. The seemingly whimsical lyrics of this poignant and touching song unfurl into a tale of a relationship in freefall, it is heart-wrenchingly sad and yet exquisite at the same time. The interplay between the pedal steel and piano is utterly bewitching and absorbing and adds another layer of class to what is already a superb piece of music. A soaring hammond organ and plaintive harmonica are key ingredients of the somber Disappointment, a song with a harder edge underneath the great music, a well written country rock tale of life in middle America.

Treat Me Right is a country song through and through, Keith’s heartfelt vocals and the elegant music a backdrop to an oft written story of love and relationships, the laid back guitar solo is sublime and puts a smile on my face. The album closes with the more folk infused delights of ‘Full Moon, Fallow Heart’ which, while downbeat in its delivery, is still unrelentingly positive in its widescreen outlook. A graceful piano and Keith’s wishful, musing vocals finish the song, and the album, with a hopeful lilt.

There’s a joy in hearing a band at the height of their creative powers and The Wynntown Marshals have returned with an album full of superb songs that connect with you on every level. We can all relate to the stories told within this album and appreciate the emotive highs and lows that are felt throughout its ten brilliant tracks. ‘Big Ideas’ reaches beyond just being an amazing Americana record, its is an outstanding achievement in every way!

Released 2nd September, 2022.

Order from bandcamp here:

Big Ideas | The Wynntown Marshals (bandcamp.com)

Review – Montrose: I Got The Fire – Complete Recordings 1973-1976

‘Montrose: I Got The Fire – Complete Recordings 1973-1976’ is a new 6 CD box set from from the ever impressive Cherry Red Records/Esoteric Recordings label and is a fabulous overview of a legendary band whose sound and style was to make a huge impression in the world of heavy and hard rock in the mid 1970’s and whose influence still makes waves, even today.

Their debut album ‘Montrose’ was issued in 1973 and its 8 tracks were monumentally important and really changed how rock music was perceived around the world. You can trace the evolution of Van Halen back to the first Montrose record, it’s a direct line between the two, certainly sound wise, and you can see the link. That album was to yield such monsters as Rock The Nation, Bad Motor Scooter and Space Station #5, which still sound mighty some 40 years on.

Sadly the resultant albums were a case of diminishing returns amidst a desire from Ronnie Montrose to explore new sounds and approaches. All of which is bold but not always successful, and the sales faltered as a result. ‘Paper Money’, their second album, was the first casualty of this approach as it failed to gain critical appreciation for its bold sounds. For many the album lacked the muscular sound that had enlivened the debut and despite some fine songs, like I Got The Fire and Starliner, many considered the album light-weight, which adversely affected sales.

This led to dissatisfaction between Sammy Hagar and Montrose and Hagar walked out to be replaced by the relatively unknown Bob James who actually had a good voice but not as powerful as Sammy Hagar’s. The new line up released the ‘Warner Bros. Presents Montrose!’ album in 1975 but, again, the critics did not like its light-weight sound, although 40 years on, it does have some gems in the form of Matriarch, Whaler and Dancin’ Feet, all of which have aged pretty well.

The band’s next album was to be a return to form with hotshot producer Jack Douglas recruited to beef the sound up and to add his magic. Unfortunately the resulting record, ‘Jump On It’, was not a great success although it did have some good tracks like Let’s Go and Music Man. It’s a tragedy that the band failed to live up to their original promise but Ronnie Montrose could be a difficult leader and he got bored easily, always wanting something new to explore.

The second CD in this set kicks off with six demo tracks, as well as their excellent debut performance, recorded for KSAN radio at the Record Plant in Sausalito, California in 1973. The band would cut a further live set for KSAN that was focused on their recently released ‘Paper Money’ record, although the inclusion of I Got The Fire, Bad Motor Scooter and a storming extended work out of Space Station #5 really work well in a live setting.

These 2 sets make a big impression and show that Montrose really could deliver the goods, sadly public perception was not on their side and the band broke up, Ronnie to more experimentation sound wise, Hagar to a succesfull solo career before joining Van Halen as a replacement for David Lee Roth. Ronnie Montrose then formed Gamma and put out several albums of fine AOR.

This box set shows the potential they had and also how they failed to capitalise on it and sadly translate that into sales. It definitely has it moments but can be patchy in parts,  the live shows are excellent though. I’m glad to have heard it but feel, in reality, a decent best of and the magnificent debut are really all you need.

Released 29th July, 2022.

Order from Cherry Red Records:

Montrose: I Got The Fire – Complete Recordings 1973-1976, 6CD Box Set – Cherry Red Records

COMING IN FALL 2023 THE NEW ALBUM BY BUILT FOR THE FUTURE.

2084: MANIFEST DESTINY

PART ONE OF A TRILOGY/SERIES BASED ON ORWELL’S DARK FUTURE.

BUILT FOR THE FUTURE LAST RELEASED ‘BRAVE NEW WORLD’ IN 2020, WHICH GARNERED VERY POSITIVE REVIEWS FOR BEING A MORE EXPANDED PROG EXPERIENCE. THE ALBUM WAS A SATISFYING RELEASE AND EPIC IN NATURE.

FOR THE NEW ALBUM, BUILT FOR THE FUTURE HAS DECIDED TO RETURN TO THE SHORTER SONG FORMAT THAT THE DEBUT ALBUM DEMONSTRATED, AND TO FLAVOR THE PROG WITH A FULL CONCEPT AND A THREE ALBUM ARC. 

THE TEMPLATE FOR THE NEW ALBUM HAS KENNY AND PATRIC FOCUSING ON MORE DIRECT DELIVERY AS WELL AS A HEAVIER ALTERNATIVE SOUND. THE MELLOTRON IS THE DOMINANT KEYBOARD FOR ITS EMOTIONAL TEXTURE. PATRIC IS USING A FENDER JAZZ BASS THROUGHOUT, AND THE RICKENBACKER 12-STRING IS THE HEAVY HITTER THAT PROVIDES A RICH TEXTURE TO EACH SONG. THE FOCUS IS THE SONG.

THE CONCEPT IS THE INTERESTING PARALLEL BETWEEN ORWELL’S 1984 AND WHAT WE ARE EXPERIENCING IN OUR SOCIETY TODAY. THE THEMES OF 1984 RUN THROUGHOUT THE ALBUM BUT WITH A NEW TARGET FOR DYSTOPIA: THE YEAR 2084(AS THAT IS STILL AHEAD OF US). 

FOR THIS ALBUM, PATRIC WROTE THE MUSIC AND KENNY PROVIDED VOCALS/MELODIES. 

INFLUENCES FOR THIS INCLUDE: STEVEN WILSON, FAILURE, RPWL, THE PINEAPPLE THIEF, PINK FLOYD, ULTRAVOX, TEARS FOR FEARS, AND EVEN FLAVORS OF NIN.

THE THREE ALBUMS PLANNED:

2084: MANIFEST DESTINY

2084: OCEANIA

2084: THE EMPIRE STATE

THE FIRST INSTALLMENT WILL BE TARGETING A NOVEMBER RELEASE DATE 2022. THE OTHERS MONTHS APART TO GIVE EVERYONE TIME TO DIGEST.

2084:MANIFEST DESTINY(TRACK LIST)

MEMORY MACHINES

THE THOUGHT POLICE

ARGOT

PROLETARIAT

SUPERNATIONAL

DIASPORA

ZEIT

HERETIC

SUBTERRANEAN

101

MANIFEST DESTINY

B4TF:

PATRIC FARRELL-GUITARS/BASS/DRUMS/MELLOTRONS/E-PIANO/VOCALS

KENNY BISSETT-VOCALS/GUITARS

LALO-DRUMS

THE COLLECTIVE/SINGLE IS THE FIRST RELEASE TO BEGIN THE JOURNEY. THE SONG IS SLATED FOR THE THIRD ALBUM(THE EMPIRE STATE). 

The Wynntown Marshals Announce New Album – ‘Big Ideas’

‘Big Ideas’, the fourth full-length studio album by Edinburgh-based The Wynntown Marshals, will sound immediately familiar to those who know the band, and serves as the ideal introduction for those who are less familiar with their output. Four years in the making, the album features ten tracks covering jangling, forthright, radio-ready power pop, rugged, rootsy rockers, moody guitar workouts and stately ballads – all underpinned by the heartfelt, poetic wordplay for which the band are well- known.

The Wynntown Marshals were proclaimed ‘Europe’s best Americana band’ following the release of their debut full-length album ‘Westerner’ in 2010 and, in the years following its release, the band garnered significant praise and support from the likes of Bob Harris (whose BBC Radio 2 show was one of three BBC sessions the band have performed). The band’s second album ‘The Long Haul’ was featured in the Glasgow Herald’s ‘Top 10 Scottish Albums of 2013’ and Uncut magazine awarded it an 8/10 review, a feat they repeated with the follow-up ‘The End of The Golden Age’ in 2015 – with Uncut describing the band as ‘colonising the shadowlands between Tom Petty and Teenage Fanclub’.

Work on ‘Big Ideas’ originally started in 2018. The intervening years saw a line-up change and the confines of the global pandemic inevitably slowed progress, but the resulting album is arguably the highlight of the band’s 15-year career. Engineered and recorded with long-time collaborator Andrew Taylor of Dropkick, mixed by Garry Boyle at Slate Room Studios and mastered by Stuart Hamilton at Castlesound, the record is sonically a step above previous releases, and the mix allows the lush, vibrant instrumentation to take centre stage, providing the ideal backdrop to the recurring lyrical themes of nostalgia, love and loss.

Once again, the lyrics often seek to explore disparate, atypical themes for the genre. Album opener ‘New Millennium’ – a euphoric tale of youthful abandon set against the backdrop of a strident, chest- pounding heartland rocker – sets the scene for the rest of the album, bringing proceedings vividly to life. The title track highlights the pitfalls of society’s relationship with social media, while ‘The Pocket’ is a heart-breaking story song inspired by the historic battle for Stalingrad. The seemingly whimsical lyrics of the pensive track ‘Keys Found In Snow’ unfurl into a tale of a relationship in freefall, and the downbeat album closer ‘Full Moon, Fallow Heart’ is still unrelentingly positive in its widescreen outlook. Nothing in our world is ever perfect.

The Marshals have, like the rest of the planet, been through some significant challenges in recent times – and some of the album’s lyrical content is inevitably shaped by the events of the past two years (the title track and ‘Disappointment’ in particular), but – like the protagonists in the middle eight of the bittersweet track ‘Tourist In My Hometown’ – the band have ‘emerged unbroken, smarting from the pain’.

You can pre-order the album from bandcamp now:

Big Ideas | The Wynntown Marshals (bandcamp.com)

Glass Hammer Announces New Album For October

Glass Hammer Completes The Skallagrim Trilogy with ‘AT THE GATE’

‘At The Gate’, the third album of the Skallagrim trilogy, is set for release on October 7th. The new album follows ‘Dreaming City’ (2020) and ‘Skallagrim – Into The Breach’ (2021), bringing the story of the ‘thief with the screaming sword’  to its conclusion.

Vocalist Hannah Pyror is back to front the group and is joined by bandleader Steve Babb, keyboardist Fred Schendel, and drummer Aaron Raulston. In addition, vocalists Jon Davison (Yes) and John Beagley (Life In Digital) will contribute as well as guitarist Reese Boyd.   

Babb says to expect another 70’s metal-influenced project but also promises a return to the symphonic-prog sound the band is best known for.

“An album can be both things,” he claims. “Since the inception of the trilogy in 2020, it’s been my intention to tell this sword and sorcery-inspired tale with appropriate music. And to do that, I needed the sound to evolve toward something grand by the end of the third album. Skallagrim’s story is one of lost joy, of grief, and longing, and ultimately of a worn-down swordsman’s coming to grips with what the world can and cannot offer him. It’s probably the most important story we’ve ever told through music, so important to me that it led me to retell it in novels.” Babb’s book, “Skallagrim – In The Vales Of Pagarna,” was released in March of this year.

Babb adds, “So, for those who love our newer, edgier sound, they won’t be disappointed. But I’ve brought back the pipe organ, the choirs, and the sweeping ballads for those who miss the sounds of our earlier albums. I think it works, but the fans will be the ones to decide!”

Watch a short teaser video for the album here:

Review – VLMV – Sing With Abandon

“Music expresses feeling and thought, without language; it was below and before speech, and it is above and beyond all words.” – Robert G. Ingersoll

Music is infinite, there are notes to come that have not been heard by any human ear yet, music is the one constant that everyone can cling on to and, with all that has happened in the world recently, music is more prominent in our lives than ever before.

VLMV have returned with their third album ‘Sing With Abandon’. The follow up to the acclaimed ‘Stranded, Not Lost’, this new album is the result of years of collaboration, experimentation and crafting the music and sounds that make up VLMV.

Joined live by long time collaborator and fellow Code In The Clouder Ciaran Morahan, VLMV deploy loop stations, multiple delay pedals, piano and strings to create a slow-moving, high-flying soundscape of luscious gravitas. 

An ambitious yet concise album, ‘Sing With Abandon’ was born as songwriter and producer Pete Lambrou explored navigating life in the pandemic, multiple lockdowns and a country deciding to break up with its loved ones. Lyrically focused on feelings of isolation and separation, from our shared collective human experience to the deeply personal and everything in between, ‘Sing With Abandon’ touches on the isolation found within the communal experience of a country locked down and in crisis. 

Dreamlike in its beauty and whimsical and wistful in its delivery, this new record is utterly captivating throughout. There are moments of stunning, ethereal brilliance like the plaintive wonder of opening track There Are Mountains Underneath Us, a strikingly elegant piece of music that left me welling up with emotion and the gloriously refined The Navigator with its plaintive piano and sultry, hushed vocals from Anja Madhvani.

Honestly, there is wonder and amazement in every note and every word throughout the criminally short thirty-six minutes running time, the instrumental tracks, If I Could See Your Life Reverse with its edgier, slightly psychedelic feel and Steady Thyself (the first single released from the album) exquisitely sublime in its execution, the piano and strings so achingly beautiful, are moments of pure wonder and calm.

There’s no way to pick any highlights from this album as it flows best if you listen to it in one complete sitting. For Empire bleeds a melancholy emotion throughout, the haunting vocals a particular highlight, the imaginatively titled We Were Landed, We Were Landing Gently We Landed is another graceful instrumental, title track Sing With Abandon has a darker aura to it and Solus Ipse the feel of a babbling brook as its gentle notes and subtle vocal meander their way across your mind.

DearFearHere is impish and almost celestial in the way the ghostly, almost intangible vocals brush your mind while the rarefied, supernal musical notes dance along in unison. The album closes with the luxurious refinement of Our Corners (Reprise), a track that leads you by the hand to a place of calm solitude and reflection.

There are times when you hear a piece of music that leaves you open mouthed in appreciation and, when I first heard ‘Sing With Abandon’ I was utterly stunned. Albums like this are more than mere music, they pervade your very soul, take over your life and almost bring you to tears at their beauty. VLMV have created something so good that it almost becomes a state of mind and I thank Pete Lambrou from the bottom of my heart for doing so.

Released 19th August, 2022

Pre-order from bandcamp here:

Sing With Abandon | VLMV (bandcamp.com)

King’s X launch ‘Give It Up’; second single from the bands forthcoming album ‘Three Sides of One’

The legendary King’s X, comprised of dUg Pinnick, Ty Tabor & Jerry Gaskill, recently announced the release of their 13th studio album ‘Three Sides of One’ on the 2nd September 2022, representing their first new music in 14 years. 

Today sees the release of the second track taken from the album, and you can listen to ‘Give It Up’ here: 

dUg comments: “After I turned 71, death was on my mind every day, Chris Cornell killed himself, and I was thinking of that. Lyrically, it’s about not giving up until you naturally die. I want to ride it out until it’s over. I’m laughing about how I haven’t gotten a will yet, but I should have one. Musically, I wanted it to be really simple, so you can dance to it.” 

Listen to the bands previous single ‘Let It Rain’ here: https://www.youtube.com/watch?v=BWUrrCB_Ulo 

‘Three Sides of One’ will be available as Limited CD Digipak, Gatefold 180g 2LP+CD+LP-booklet & as Digital Album. There will also be a Limited Deluxe 180g Orange/Red Marble 2LP+CD+LP-booklet that also includes a poster and a hand-numbered print, as well as an exclusive variant of the front cover artwork. Pre-order now here: https://kingsx.lnk.to/ThreeSidesOfOne 

During 2019, the members congregated at Black Sound Studio in Pasadena, CA with Emmy Award-winning producer Michael Parnin to bring ‘Three Sides of One’ to life. Despite consistent touring, they hadn’t cut a new LP since 2008. Nevertheless, the guys picked up where they left off. Creative confidant and collaborator Wally Farkas rolled through, and they channelled their incredible chemistry on tape.

Of the new album, dUg Pinnick comments:

“When I think of it, King’s X feels like a couple of old best friends coming together, shooting the shit, and having a good time, it’s instinctual. When I would listen to demo tapes of Jerry and Ty for the record, it gave me a great perspective on how blessed I am to be in King’s X. What they did on Three Sides of One sounded so good. For as familiar as it is, it’s like I’m in a new band.” 

Ty adds:

“This time, we sat around, listened to each other’s ideas, and would collectively say, ‘Let’s work on that’. It was the most enjoyable album I’ve personally ever recorded in my entire life, period.” 

Jerry continues: “I’ll cherish what we did in my heart forever. Everything lined up perfectly.”

The full track-listing is as follows:

1.         Let It Rain 04:28

2.         Flood Pt. 1 03:03

3.         Nothing But The Truth 06:03

4.         Give It Up 02:59

5.         All God’s Children 05:32

6.         Take The Time 03:45

7.         Festival 03:30

8.         Swipe Up 03:46

9.         Holidays 03:22

10.       Watcher 03:43

11.       She Called Me Home 03:57

12.       Every Everywhere 02:40 

King’s X background:

Along the way, they architected a catalog of seminal releases. KERRANG! famously scored their 1988 full-length debut, Out of the Silent Planet, with a rare “5-out-of-5-stars.” On its heels, the landmark Gretchen Goes To Nebraska continues to inspire think pieces with Ultimate Classic Rock going as far to proclaim, “no one else has crafted anything remotely like it.” They notably appeared on the soundtrack to Bill & Ted’s Bogus Journey, and Guitar World christened the self-titled King’s X one of “The 30 Greatest Rock Guitar Albums of 1992” (a year notably highlighted by Pantera’s Vulgar Display of Power, Alice In Chains’ Dirt, Megadeth’s Countdown To Extinction, Dream Theater’s Images and Words, and many more). Following Dogman, the group graced the stage of Woodstock 1994 and toured with everyone from Pearl Jam and AC/DC to Mötley Crüe and Iron Maiden. They also attracted one of the most diehard fanbases in music with Ear Candy [1996], Tape Head [1998], Please Come Home… Mr. Bulbous [2000], Manic Moonlight [2001], Black Like Sunday [2003], Ogre Tones [2005], and XV [2008].

Their first full-length studio offering in 14 years, Three Sides of One, represents the culmination of this trip and of a bond forged way back in 1979.

Review – starfish64 – Scattered Pieces Of Blue

starfish64 was established in 2006 by German singer-songwriter Dieter Hoffmann. Originally intended to be a vehicle for his solo-work, starfish64 began recording and publishing in the singer-songwriter genre at first. Over the years, however, sound and compositions shifted more and more towards progressive and new art rock.

‘Scattered Pieces Of Blue’ is the latest album and has been described by the band as ‘Somewhere between prog, pop, rock and outer space. And all in blue…’. To be fair, it is quite a fitting description as starfish64 have their own unique sound that does have touch of sc-fi soundtrack to it in places. The deliberate, almost monotone vocals work perfectly with the spaced out feel of the tracks and then the sublime guitar playing arrives to add that real touch of rock to the music.

This new album has been the band’s most successful yet, which is testimony to the strong songwriting and seamless flow between the often disparate styles of music. These musicians are masters of the segue in a way, which, on other albums by different artists, just doesn’t work. Here it becomes the signature of a band supremely happy with their musical style.

There’s the dreamlike contemplation of album opener Blue Piece Of Something In The Air, the sharp suited brilliance of Birdsong (I really like this track!) with its rather fine sprawling guitar solo at the end and the more upbeat Sunrise Over The Weathered Roofs Of Platania, a song that should be the musical definition of ‘sunny disposition’, three tracks that open the album in fine style.

Forget Me Not brings authority and seriousness, a stylish song that brings to mind a more laid back Kraftwerk to me, the plethora of synths and keyboards is wonder to behold. The short and sweet Blue Piece (Reprise) is like a rather appealing palate cleanser before an elegant piano opens the wistful and thoughtful Happiness, the dreamlike quality of this song is utterly charming.

Perhaps the most interesting and thought-provoking piece on the album, Time’s Up Utopia has a calming and engaging extended instrumental opening that lifts the anticipation perfectly. Tangerine Dream soundscapes wash around you, interspersed by the more direct vocals, a perfectly judged combination. This song is possibly the best that the band have ever written, in my humble opinion, it ebbs and flows in an utterly compelling manner and leaves you completely satisfied, the guitar solo is a piece of genius too! Intersection One sounds like a sci-fi soundtrack in composition and name and contains a cavernous dynamism, Number Forty-Five has a powerful edge to it, harder than most of the other songs, the echoing guitar imbues it with a forceful, potent, energy. The album closes with the surreal countenance of Space Junk, a nostalgic, almost mournful feeling piece of music with an honest and determined outlook and the best guitar solo on the album, all fire and brimstone. It’s an impressive way to close out what has been a rather brilliant album.

starfish64 have been around for a pretty long time and definitely know how to make music but, with ‘Scattered Pieces Of Blue’, they have raised their already considerable level to a new high. Often thoughtful and contemplative but also at times vivid and intense, it is an album that they should be truly proud of and contains their very essence as musicians, I highly recommend it.

Released 5th June, 2022.

Order from bandcamp here:

Scattered Pieces Of Blue | starfish64 (bandcamp.com)