Tag: Peter Jones

Review – The Bardic Depths – What We Really Like In Stories – by JohnWenlock-Smith

The Bardic Depths formed when Canary Islands resident Dave Bandanna sought out musical contributions and assistance from fellow Big Big Train ‘passengers’ on a project that he was working on. The response being so positive that Dave decided to turn the project into a band to make an album, which became The Bardic Depths first album ‘The Bardic Depths’.

‘What We Really Like In Stories’, the collective’s third offering, arrives in March and offers eight more tracks of their rather unique, intelligent and different take on progressive music. The eight songs are mainly just under the six minute mark, although there are two longer tracks in ‘Vendetta’ and ‘Whispers In Space’.

This album is based on authors and their writing. The lyrics are all written by the band and Dr Brad Birzer, an American history professor at Hillsdale college, Michigan in the United States Of America. Once again, the album has a core group of musicians alongside Dave Bandanna. We find Peter Jones on vocals, whistles, clarinet, trumpet and alto saxophone, Gareth Cole on electric and acoustic guitars and guitar orchestrations and Tim Gehrt on drums and percussion. Dave himself provides lead and backing vocals, acoustic guitar, bass, keyboards and programming.

The album opens with a delightful, if brief, overture, Genius which itself leads into the first song proper, What We Like In Stories, which brilliantly recounts a conversation between CS Lewis and JRR Tolkien in which both authors expressed their dissatisfaction at the lack of books that contained what they would like to read. So they decided to write some for themselves, they tossed a coin and the outcome decided that Lewis would write the ‘space’ stories whilst Tolkien would write time travel stories, the term science fiction having not been coined at this stage. From this decision came CS Lewis’ ‘Out Of The Silent Planet’, ‘Perelandra’ and ‘That Hideous Strength’, all of which saw Lewis’ talents recognised in both the UK and North America, indeed, one could say that CS Lewis and Ray Bradbury made science fiction respectable. Meanwhile JRR Tolkien’s efforts were unsuccessful in the short term, it was two decades before ‘Lord Of The Rings’ appeared and a further twenty for ‘The Silmarillion’ to appear. The next track is a haunting, mid-tempo piece, You’ve Written Poetry My Boy, which has a direct line to the works of Ray Bradbury and, in this song, we learn that Aldous Huxley thought that the words Bradbury writes about ‘so many brave new worlds‘ are like poetry. This has a good saxophone solo from Peter Jones and great guitar orchestrations and flourishes from Gareth Cole. Vendetta concerns the works of comic book writer Alan Moore and takes the theme of one of his books ‘V for Vendetta’, set in a near future time, in a dystopian society where one has to make a stand against the way society is being led by those in charge. However, in this song our hero is finding that to be a challenge and hides away, refusing to face what is going on around him. We are told that silence is a fragile thing and that hiding away and not being involved is not the answer to the predicament or the issue. Musically, this a very good track with lots of interesting parts including fine guitar, keyboards and excellent drums, all with a very strong rhythm.

Old Delights is a homage to writers, a celebration of their talents and how their words can cause us not only to think but also to view things, people and situations in a different light, a very considered viewpoint. It is another fairly brief track but gets its point over very stylishly and it also serves as a clever platform for the next song, The Feast Is Over, which is based the work of Robert E Howard. Howard is regarded as one of the first writers to write in the Fantasy genre and wrote ‘Conan The Barbarian’, which saw him regarded as the father of the Sword and Sorcery sub-genre of pulp fiction. This track features a very memorable refrain repeated on the closing parts, it is also one of the longer songs, meaning it has space to evolve organically. It opens with a gentle acoustic strumming and is is about Sword and Sorcery writings, the second part of the track becomes more expansive in sound with orchestrations playing. In this section there is a lengthy and beautifully expressive guitar solo that ends with some fiery slide guitar, it is a really strong and satisfying track on every level. Stillpoint is based around the writings of science fiction writer Walter M Miller Jr, who’s work went largely unpublished during his lifetime, another relatively short, but highly enjoyable, track. Whispers In  Space concludes the album in strong form, this one references the writings of Robert Rankin, an acclaimed writer whose style included, fantasy, comedy, conspiracy theories and steampunk elements. The lyrics are very clever, referencing in many oblique ways the sad death of Big Big Train’s own David Longdon, as in the line “The captain of the skies flies again…” Again, the music on this track is exquisite with lots happening. A graceful, expressive solo is played with great sensitivity and feel in a very special section of the track. Although the meaning of the song is possibly lost on me really, being a bit obscure and elusive, to my ears at least, the music is exciting and engaging on every level, making it a fitting conclusion to a very interesting and rewarding collection of songs.

With ‘What We Really Like In Stories’, The Bardic Depths take a subtly different route from what has gone before, the album having no central theme as such but, rather being a collection of songs inspired by literature. I enjoyed this album immensely and further, extended listens have allowed it to firmly secure a place in my heart and mind, I heartily recommend it.

Released 7th March, 2024.

Order download from bandcamp here:

What We Really Like In Stories (24bit/96k) | The Bardic Depths (bandcamp.com)

Order CD from Gravity Dream here:

The Bardic Depths – What We Really Like In Stories CD – Gravity Dream Music

Review – Cyan – Pictures From The Other Side – by John Wenlock-Smith

This November sees the release of the second instalment of the Cyan story. If you recall, this project saw the resurrection of an album and concepts from the very earliest years in Robert Reed’s musical journey and development where Rob and his school friends made an album that was actually released in the 1990’s on a small dutch label that allowed further parts to be released. Although Rob felt that these releases fell somewhat short of how he saw the album should have been envisioned.

To this end, when Rob decided to update the concept afresh with a more competent and rewritten version, he enlisted the talents of Peter Jones, Luke Machin and Dan Nelson, with Rob himself handling the keyboards and other things like production. ‘Pictures From The Other Side’ continues that journey and, again, the original source material benefits both from a 2023 production and also the reimagining and experience that has been gained the last 30 years.

The album has just six tracks, including the epic Nosferatu, opening with an extremely strong and compelling opening track, Broken Man, which allows Peter Jones to sing and channel his inner Gabriel. The track begins with what sounds remarkably like Uilleann pipes but is probably more likely to be Peter’s whistles or something similar, this is accompanied with a soaring guitar line from Luke Machin that takes the track forward in style. The song has great backing vocals from Angharad Brinn ( who featured on the Kompendium album from 2013) and also benefits from the athletic and agile bass playing of Dan Nelson, who is all across this track, adding solid and expressive support. When Machin’s guitar lets fly it really warms the heart to hear this marvellous collective really making an impact and allowing the song to really flow. The vocals are very much like Peter Gabriel and, again, this really makes a strong and favourable impression, in conjunction with Angharad Brinn, this all sounds really strong and enticing, especially when you factor in the fabulous music that Cyan offer as a unit. It is very imaginative, well nuanced and textured with an expansive sound and simply excellent musicianship from all parties involved, a stunning opener all told. Title track Pictures From The Other Side opens with gentle piano lines before the band join in and a jazzy saxophone plays in tandem with the vocals. The song sings of stories from the other side of life, although what that actually means is a little abstract and unclear. It is another excellent song though, relatively short but with a strong keyboard part in the mid section and some classy saxophone lines before a sweeping Luke Machin guitar line plays out over Rob’s keyboards. This has great dynamics to it, an ethereal vocal from Angharad taking centre stage as the song moves forward. There are some fabulous guitar parts within this song and, again, it really makes an impact. The track ends on a syncopated jazzy section with guitar, keyboards and sax all playing their parts to perfection, another winner!

Solitary Angel is a more restrained piece really although, again, it builds well in its intensity and does allow room for more of Luke Machin’s flights of fingers and notes to occur. That takes the track to greater heights, Machin really lives up to his growing recognition and skills here. I’ve had the pleasure of seeing this young man grow, not just in his confidence, but also in his abilities, to become the valued player that he is. This understated song has real class and adds a testament to the strengths that the group possess and display so well. The wistful and poignant Follow The Flow is a bewitching and beguiling piece of music that focuses on the twin strengths of Peter’s vocal and Rob’s piano playing to deliver just shy of four minutes of musical wonder. Once again Angharad’s beautiful, touching voice adds to what is a marvellous musical brief encounter. Tomorrow’s Here Today starts with an acoustic guitar alongside a fine vocal from Peter Jones and ethereal vocals from Angharad Brinn, who really add to this slow burn of a track as their voices blend really well and expressively. Deep keyboards are employed to add to the atmosphere and the dynamics as a synth solo is performed by Rob and, as Luke Machin joins in the fun, the song gathers pace and urgency and becomes a platform for swapping solos before returning to the previous mood. I really like this track and its use of dynamics to convey its points.

The final song of the album, Nosferatu, is also the longest at just shy of eighteen minutes in duration. Nosferatu is a reference to vampirism like Dracula but with its roots further back to Roman times in Transylvania and that region of the world. It’s all very Gothic and removed from Whitby and the Dracula legend of today. This has a gothic horror element to it but it is all done with a degree of reverence and respect. The elongated running time gives room for the track to breathe, expand and explore the themes more fully and this means lots of spaces for Robs expressive keyboards, Luke’s fiery guitar and Dan’s solid bass and gives them all the ability to have room to breathe, Angharad Brinn especially gets the opportunity to shine here. There is a definite strident section that really works well before the song returns to a more gentle feel part and then Luke’s defining guitar break takes the listener on a flight of wonder, the closing moments are especially strong with real pace and urgency to them as Peter ushers in the morning sun to dispel the vampires. This is a class ending to what is a very accomplished album of strong material.

In a year that has seen some excellent releases this one can easily be added as one of the year better ones. A real treat and one that most definitely warrants inspection and deserves being heard by as many as possible as it contains much very fine music and strong performances from Cyan. 

Here’s to the next part of the story!

Released 17th November, 2023.

Order the album here:

https://tigermothhosting.co.uk/CYANCD2023/

Magenta’s Robert Reed and Camel’s Peter Jones join forces once again with new Cyan album ‘Pictures From The Other Side.’

Alongside Luke Machin and Dan Nelson, the second Cyan album will be released on Nov 17th 2023.

Keyboardist and composer Rob Reed, known for his work with Magenta, Kompendium and Sanctuary solo albums, has once again joined forced with Peter Jones, along with Luke Machin and Dan Nelson for a new Cyan album titled Pictures From The Other Side. The second album from the resurrected project is due out on the 17th of November 2023. The new album contains 6 songs, including the epic 17-minute track ‘Nosferatu’. The CD is accompanied by a DVD with a full 5.1 surround mix of the album and a live acoustic performance of songs from the previous album For King And County.

Watch the video for the album’s opening track “Broken Man” here:

Pre-order Pictures From The Other Side here:

tigermothhosting.co.uk/CYANCD2023/

Cyan was originally formed by Robert Reed (Magenta) when in school, back in 1983. After recording some demos at a local studio, the band went their separate ways. Years later, those demos led to the release of ‘For King And Country’ on the Dutch SI music label. It was the first of three Cyan albums released in the 1990s before the project was shelved and Rob went on to form Magenta.20 years later Rob Reed, along with a killer line-up, decided to brush off the cobwebs and successfully release a completely re-worked version of the ‘For King And Country’ album.  Cyan has since performed at the 2023 Night Of The Prog festival in Germany, and at the 2022 Summers End and Fusion festivals in the UK.

Rob Reed:
“I remember that the first Cyan album ‘For King And Country’ was written when I was still in school with a band I formed with some school friends. After I left school, we went our separate ways and it was several years later that I was approached by the record company. After the success of the first album, they wanted a follow-up so I wrote new material for what became ‘Pictures From The Other Side.’ It was more song-based, but included a couple of long epics. 

Obviously, I was influenced by the classic Prog of Genesis and Yes when writing this originally, but I was also listening to a lot of other bands of the time like It Bites, Simple Minds and Marillion. It’s been great to finally hear this material played by this line-up, it’s a completely different album. Re-written, re-recorded and re-arranged. Hopefully, I’ve brought to the album, everything I’ve learned in my career.

Pete Jones:
“It’s a joy to be involved in the ongoing resurrection of the Cyan canon and the vision Rob has for these new interpretations. As a vocalist, there’s so much to work with on the new album, with epics like “Broken Man,” which really let me dig deep into my inner Genesis prog vocals. The title track has some great hooks, as does the rest of the album. Tracks like the dark but beautiful “Solitary Angel,” and the vampire world of “Nosferatu,” really call for some vocal gymnastics where I can stretch myself and really go for it. Then there’s “Follow The Flow,” which is just gorgeous. As with all Rob’s stuff, it’s the feeling and emotions which are key to the whole thing. I hope I’ve managed to do my bit with the vocals.

We’ve now got a few gigs under our belt, including the recent fabulous time we all had at Night Of The Prog in Loreley. That was a real highlight of the year for me. The live band is sounding really great, with Luke, Dan, Jiffy and the man himself Rob Reed all at the top of their game. As well as doing the vocals, I play sax and whistles, and rhythm guitar which Rob asked me to do in a moment of madness. Ha-ha. All being well, we’ve got some rather special shows in the pipeline for next year. So I’m looking forward to the album coming out, and taking it to the stage!”

CD tracklisting:
1- Broken Man
2- Pictures From The Other Side
3- Solitary Angel
4- Follow The Flow
5- Tomorrow’s Here Today
6- Nosferatu 
 

DVD consists of:
Full album in Dolby Digital and dts 5.1 surround
Promo videos
The Quiet Room session (live acoustic performance)
1- I Defy The Sun
2- Don’t Turn Away
3- Call Me
4- Man Amongst Men/The Sorceror
5- Snowbound
6- For King And Country

Cyan is:

Robert Reed
(Magenta / Kompendium / Sanctuary / Chimpan A)

Peter Jones
(Tiger Moth Tales / Camel / Francis Dunnery’s It Bites)

Dan Nelson
(Godsticks / Magenta)

Luke Machin
(Maschine / The Tangent / Karnataka / Francis Dunnery’s It Bites)

Review – Tiger Moth Tales – The Turning Of The World – by John Wenlock-Smith

This October sees the release of this latest album from Tiger Moth Tales which is, of course, the moniker under which multi-instrumentalist Peter Jones operates and releases his own music. Peter is a highly respected and regarded musician who also fronts Red Bazar as keyboardist and vocalist while also doing the same for Cyan and, more recently, Camel. He is also a member of Francis Dunnery’s It Bites and, in addition, Peter also has a dedicated following and has performed several Mothster parties as warm ups to Big Big Train shows (usually in London at venues near to where the BBT shows are taking place.)

All this is pretty remarkable, especially when you consider that Peter is totally blind and yet still strives to create new music, usually labouring by multi-tracking and mixing using an old 8-track recorder. His music really is a labour of love for him, it must take him a long time to get the sounds he envisages in his mind on tape when recording, but this he does and then shares these fruits of his labours with the world.

‘The Turning Of The World’ follows a different tack to earlier Tiger Moth Tales‘ albums in that it was composed mostly on acoustic guitar and, whilst this lends a softer tone to proceedings, it is abundantly clear who it is performing this music such is the uniqueness of Peter’s voice and the sound is easily recognisable as  a Tiger Moth Tales release.  

For this album Peter is in a fairly upbeat mood and it is clear that Peter, once again, is in a happy place and this comes across in the more personal, and even intimate, songs about friendships, family, love and life, several of which are autobiographical in their lyrics.

Proceedings commences with a short scene-setting instrumental, The Getaway, that  represents the madness, discord and overall business of the modern world in which we live in a post-covid age. The album’s first proper song, per se, is The Turning Of The World which concerns itself with Peter’s fear that, with the world being in the state it is, revolution is on the cards, although whether Peter’s fears are justified or merely baseless is as yet unknown. Peter is concerned about how a victory would look and how its winners would behave, this song makes good use of a melodica to make the song sound plaintive. This is in complete contrast, in terms of emotions, to So Wonderful To Be Alive, which is a composite of childhood memories that Peter holds dear. This song name-checks his grandparents fondly and the adventures they shared together, it also talks of Peter’s teenage years. The track is hinged on a fine acoustic riff, played with the style and progresses onto Peter’s memories of a very happy wedding day with his wife, Kimberly. He sings with real love, gratitude and fondness for her presence in his life. This is followed by the albums longest track, The Snail, The Horse And The River, which concerns itself with using nature to look at how you are feeling. This is possibly mindfulness in practice as Peter says it represents three instances where looking at nature really helped his mood. The first was as a child when a beloved pet had died and Peter felt a Snail moving beneath his fingers helped him to be able to move onward. The second was an interaction with a horse. Peter has a timbre that has tones of Peter Gabriel, his voice is rich, warm, gentle and mellow, it is quite remarkable in fact, there is also good use of a zither alongside the melodica.

Try is about perseverance, resilience or, as we used to call it, gumption! The ability to keep trying and carry carrying on with something, this is a clarion call to keep trying and is a lesson we can all learn from, I think! We’ll Remember is a song that is written about the unexpected and sudden death of David Longdon of Big Big Train with whom Peter recorded a version of Spectral Morning that was recorded in 2015 in aid of The Parkinson’s Society. When the sad news of David’s death was announced, Peter wrote this song in response and, to help him work out his emotions, he bought in Rob Reed and Christina Booth of Magenta to assist him in this touching tribute. Pass It On has another taste of the smooth sound and is again based of his memories of people who have passed on. This song mentions some of those folk, and how we should pass on the kindnesses we have received to others. The Good People Of Munchwald recalls the positive memories that Peter has of a house concert that he was invited to play at in Muchwald in Germany and the friends he made and excellent hospitality that he and his wife received whilst there.

You reached for My Hand is a very personal song, one that details the time that Peter’s father was in hospital and held his hand for support. Thankfully his father made a full recovery but this tender song recounts that time. The Lock Keeper is  ostentatiously about a lock keeper but, in actuality, it is about The March Of Progress and how, in that quest, skills are being lost, never to be replaced and how this, in effect, can make the world a poorer place as a result. It’s very interesting and realistic song that really makes good use of that softer toned. The track has a lively sax and melodica section to it but, for me the song doesn’t really go anywhere special. This is definitely not the case with the last song of the album, All I Need Today, which begins with open guitar chords and sounds not unlike Genesis’ more acoustic moments. The track has underlying keyboards and what sounds like a clarinet but is actually the returning melodica playing and makes for a very full sound. It is a warm song and Peter expresses how his wife and marriage help him to realise the good things he has in his life, in part because of her presence. It is a positive and touching note on which the album concludes.

This is a very different type of Tiger Moth Tales‘ album but its deep subject matter and its thoughtful words and sentiments are actually very worthy and act as a good counterpoint to the downbeat ‘Whispering Of The Wind’ of 2020. Whilst this album has some darker songs there is a prevailing sense of gratitude and warmth within and around these songs, which are a bit more direct emotionally.

It is good to hear Peter singing these songs as, from the heart, this emotionally direct approach pays rich dividends here indeed. I’m pretty sure that Peter’s next album will see him return to the style we have come to know and love but for now he asks us to embrace this different and yet deeply compelling album. Different? Yes, Enjoyable still? Definitely! Embrace it now, I think you will enjoy it if you do.

Released 6th October, 2023.

Pre-order the album from White Knight Records here:

Tiger Moth Tales (whiteknightshop2.co.uk)

Review – Red Bazar – Inverted Reality – by John Wenlock-Smith

This October sees the release of this highly impressive and sonically rewarding third vocal album from Nottinghamshire Prog rock band Red Bazaar, featuring Peter Jones (Tiger Moth Tales) on vocals and keyboards.

The album is fairly political in its subject matter with freedom of speech being a major topic. Now, some folks think that politics and music don’t, or shouldn’t, match but, if  you think about those 60’s protest songs and the more recent political ones like Another Brick In The Wall, you can see the impact such music can have. Personally I really don’t mind, especially if the sentiments expressed are important ones, anyway back to the album…

Opener One Out Of Three is a hard hitting track opening with soaring synths and a furious drum beat that sets the urgency of the song up well. The track also hinges on an angular guitar riff from Andy Wilson. Its subject matter is the state of the music industry and how cynical it is these days, both manufactured and marketed by those in control with their eyes firmly on profit and not quality and originality. This is a sweeping condemnation of the current scene, one that Peter Jones knows from personal experience as he was previously an X factor contender (coming 4th in the first series) before taking control of his own destiny and writing and performing the music he wanted to rather than being told too. A wise decision that enriched us all with the Tiger Moth Tales series of albums. The track is frantic and very fine indeed, as is the second track Spirit Of Man which opens with ethereal keyboards and an echo laden guitar arpeggio from Andy, accompanied by an underpinning keyboard swell before Peter’s vocal starts. The songs seems to be about keeping going against setbacks and mental health issues. It is a fairly positive song though and tells us that you have within you a strong Spirit Of Man. This is in part based on the mock-Latin phrase “illigetimi non carborundum” which is probably more widely known as “don’t let the bustards grind you down”, strong words but a good song nonetheless.

State Of Disgrace is highly political and critical of those in charge as they write the laws that benefit them most, while the rest of us are encouraged to toe the line or face being silenced by the ruling classes. It comments on the lack of morality and the lack of consequences for those in charge, along with the suppression and subrogation of the rank and file, i.e. Us! It is a very political song with elements of George Orwell’s epic ‘1984’ novel with which it shares several common themes. I really enjoyed this track and agree with the issues it so eloquently speaks of. Take Control is also another winner featuring both an excellent vocal from Peter Jones alongside a fabulous solo from Andy Wilson in a rather epic track that has it all in its near 10 minute running time, simply astonishing performances and a fantastic song overall.

Smokescreen follows and is a song based on a John Francombe book in which a man punishes his unfaithful partner by setting fire to their home whilst she sleeps. Quite a dark subject matter but well handled by the group and featuring great bass work throughout by Mick Wilson, who is consistently on form on this album. Final track Stop The World continues the politics as it talks about how politicians are creating division and using it to further their own agendas. This is the album’s longest track, working well as a very good good conclusion to what has proven to be an assured, intelligent and well crafted piece of work. Okay, its themes may be a bit dark and political but, for these times of uncertainty and incompetence, especially with modern political life, this is a very telling set of songs, urging us all to speak out and make our feelings known.

I think it is one of the finer albums of the year. I really enjoyed it and the musicianship is excellent throughout, with great vocals from Jones and great bass and guitar work from the Wilsons along with solid, urgent drumming from Paul Comerie. This is an album that really cries out be be heard by a far wider audience than it will probably receive unfortunately. This really is something special and worthwhile and I heartily recommend to all.

Released 30th September, 2022.

Order from White Knight Records here:

Red Bazar – Inverted Reality (featuring Pete Jones) (whiteknightshop2.co.uk)

Review – John Holden – Kintsugi – by John Wenlock-Smith

‘Kintsugi’ is the brand new album from Cheshire’s John Holden and it is another masterful collection of tracks that together tells eight stories of hope and redemption in our troubled world. Once again, John and his co-writer and wife and partner Elizabeth have created some beautiful  and sublime moments of music ranging from the epics, Achilles and Building Heaven, to the seemingly throwaway humorous Ringing The Changes, with its campanology references and use of bells.

John has continued his collaborative style with many of the prog world’s finest talents including Peter Jones, Mystery members Michel St-Père and Jean Pageau, Celestial Fire’s Dave Bainbridge and Sally Minnear and regular collaborators Joe Payne and Vikram Shankar. John himself plays keyboards, bass guitar and also adds percussion along with orchestrations and programming, while also handling both the artwork and the production of the album.

‘Kintsugi’ is a very skilled and lovingly crafted recording, it is always a pleasure to hear what John has created as both he and Elizabeth put everything into the albums and together they craft real musical magic. The album has two epics, several shorter pieces and a well crafted title track, there is also the continuation of High Line from the ‘Circles In Time’ album, a longer track about Brexit and xenophobia and there’s also a folk song that celebrates a trip to Peggy’s Cove at St Margaret’s Bay in Nova Scotia, Canada.cSo, all in all, a rather mixed bag but a bag chock full of gems and treasures.

The album opens with the tales of Achilles and his decision to pursue a brief yet spectacular life chasing eternal glory, its a sobering tale about striving for immortality and how our choices can affect those closest to us. The song passes through several stages including a battle sequence with Vikram Shankar applying his touch to proceedings, whilst predominantly a sad track, it is still a strong opening statement for the album. Ringing The Changes is completely different and the charming vocals of Sally Minnear really add much this excellent little number. This is a song about community and how odd eccentric people can come together to serve and support them. There’s a lovely piano from Vikram and some sweet and effective bell chimes throughout the song, it is, ultimately, a triumphant track. Kintsugi is a song about broken people being made whole and their brokenness becoming stronger. It is about accepting our flaws and receiving healing and wholeness, this is a Japanese concept and a very gentle and beautiful one that can really change people’s worldview and vision. The track feature some excellent violin and viola from Frank Van Essen and a masterful guitar break from Michel St-Père. It is a treasure of delicacy and beauty and is one of my favourites on this great album, utterly sublime.

Flying Train is about the elevated overhead railway that still exists in Wuppertal in Germany. This track would probably appeal to Big Big Train’s Passengers as it ploughs a similar furrow, combining history and music to great effect. This is a largely instrumental song that creates the wonder of a journey on these rails. Xenos talks of borders and how some have a fear and distrust of those that are different and do not accept them with openness. Sadly Brexit helped foster such opinions and weakened us as a nation, losing touch with and opposing tolerance and kindness. The passage of migrants is a thorny issue generally and one the we need a compassionate response to, which this song espouses. Against The Tide can be seen as being part two of the track High Line (from John’s last release, ‘Circles In Time’). The song has a similar west coast jazzy feel with a fabulous saxophone from Peter Jones, whose vocals also really elevate this track. John’s bass is very busy on this song and it has a great swing and groove to it, another fabulous track.

Peggy’s Cove takes us to Nova Scotia with a Celtic sound and a great choir of Sally , Joe Payne, Peter Jones and Iain Hornal, who provide massed voices to this gentle number. Final track, Building Heaven, is about how we treat each other and uses the tale of Coventry Cathedral’s partial destruction by the Luftwaffe in 1940, and the decision not to rebuild but to incorporate the destroyed sections into something new, as a testament faith and building together to make something good from the bad. This song has air-raid siren effects and a stirring melody that runs throughout the song, along with a suitably epic guitar solo from Dave Bainbridge. This is an excellent finale to what is an adventurous and engaging album full of great songs, concepts and ideas.

One to enjoy and also return to again and again.

Released 30th September, 2022.

Order direct from John’s website here:

Kintsugi CD – John Holden (johnholdenmusic.com)

Review – The Bardic Depths – Promises of Hope – by John Wenlock-Smith

‘Promises of Hope’ is the second album from The Bardic Depths, the unusual group formed through the Big Big Train “Passengers” Forum which brought together the talents of a disparate group of individuals, united by musical interests. Their first, self-titled album told the story of the friendship between JRR Tolkien and CS Lewis and their experiences in The Great War. This new album also features CS Lewis along with Greek poet Virgil and its theme is that of suicide and redemption.

What is different this time though is that folks who were contributors last time have joined Dave Bandana and now become official members of the band, these being Peter Jones, Tim Gehrt and Gareth Cole. Once again, they are aided by historian Bradley Birzer who provides the lyrics and various other guests appear on the album (like Sally Minnear of Celestial Fire).

The subject matter might seem quite heavy and dark but the music is anything but. The story is that a Queen tries to kill herself but heaven will not allow it and offers redemption instead…

Right from the opener, And She Appeared, there is a new sense of presence in the band, Robin Armstrong’s sympathetic production certainly helps, as do the stellar performances of the whole ensemble. Some great sound effects and expansive keyboard sweeps lead into a triumphant fanfare of synths and a penny whistle before a thrusting bass line kicks in and Peter’s fabulous vocal begins, Dave Bandana joining in with the vocals as the song surges forward. This is exceptionally good stuff indeed and Gareth Cole’s is glorious too. The excellence of the opening track means the album really flies out of the gate with a great refrain of promises of hope but never victory, a truly epic song to start with.

Regal Pride follows and is a more even-paced track, although some fabulous saxophone licks and riffs pump up the tempo as the song tells of the failing of the relationship that caused her to want to commit suicide. It is very languid and almost lazy sounding, again some great classical guitar playing throughout makes a seriously good impression. Consumed opens with more classical guitar and sounds of the sea washing ashore. There’s more penny whistle from Peter Jones, that sounds uncannily akin to Men of Harlech, along with lovely violin from Olga Kent. This track is a slow burner and its folky interludes really add significantly to proceedings, It is all really impressive and a step forward from the debut album, the introduction of a core nucleus certainly helping with stabilisation of the music and allowing for more improvisation to occur naturally.

This is an album that has been carefully assembled and crafted and it shows in the strength of tracks, The Burning Flame continuing the story with some distinctive guitar lines from Gareth, in which he gets to contact his inner ‘Gilmour’, adding an epic scope to the song. The track talks about the Queen’s attempt to end it all and utterly captivating playing makes this a real highlight of the album thus far, you can intimately sense the loss of hope in this song.

Colours and Shapes follows with more moody saxophone, as an instrumental this gives free rein to the jazzy playing of Peter Jones and it is a wonderful thing to hear. When Tim Gehrt’s solid drumming kicks in, it really soars, heading off into lots of different directions until Gareth’s mighty guitar takes flight. It’s really fine track, epic even, with the cool sax segueing in to Why Are You Here?, the song opening with various voices asking ‘Why Are You Here?’, which sounds reminiscent of Pink Floyd’s Wish You Were Here, as it shares a similar tempo and sound. The track also has a suitably moody and epic guitar solo.

Returned has a different feel to all that has gone before, sounding like an outtake from The Power Station, with its funky stylings and use of vocoder. In this song our Queen is advised to return to love as it is her path to redemption and you can get the 80’s vibe in this track. It is another highpoint in what is rapidly becoming an ambitious and really interesting album. The Essence continues the 80’s sound with heavy drums and lots of synths burbling away. ‘The universe may feel…’ is the refrain on this track and lots more superb saxophone makes it another winner

Imagine concludes the album, opening with a majestic church organ, courtesy of Richard Krueger, that makes a grand statement of intent. This is the redemption that has been offered and received by our Queen, more marvellous keyboards in the middle section and great vocals from Dave and Peter keep the song bubbling along. The guitar part is very reminiscent of a certain Steve Hackett, Gareth showing that he certainly can play in that style. This is a fitting finale to an album that is really something incredibly special indeed.

‘Promises of Hope’ will invariably appear in various end of year listings, and rightfully so too, for it is exceptionally good and I heartily recommend it to all.

Released June 24th, 2022.

Order direct from Gravity Dream here:

The Bardic Depths – Gravity Dream Music

Review – Tiger Moth Tales – A Song of Spring

Much loved multi-instrumental progressive musician Peter Jones returns with his best known project, Tiger Moth Tales, to deliver his much anticipated brand new album ‘A Song of Spring’.

Peter, who is also keyboard player with Camel and Francis Dunnery’s It Bites tells us: “I’m cautiously excited about this album. Ha-ha. I think I’ve taken some interesting decisions (musically speaking), and the stories which inspired the writing process meant there was a lot to work with. I think this is a return to TMT form, which I hope the ‘mothingtons’ will enjoy.

Even as far back as the writing stages of ‘Cocoon’, I already had the idea in mind to do the Four Seasons thing, which started off with ‘The Depths of Winter’ in 2017. A fair few things have happened since then, to say the least.”

He adds: “I have a few albums in my head that I want to complete someday, but the time felt right to continue the Seasons saga. As with ‘The Depths of Winter’, I wanted to touch on both the lighter and darker sides, so it’s not all about the joys of spring. There’s some fairly grim stuff there to get your teeth in to.

It was a real pleasure to work with John and Elizabeth Holden on this album. I can normally come up with a few good tunes, but lyrics can sometimes be illusive. So it was wonderful to have some collaboration on some of these new songs. Tracks such as Rapa Nui and Light have some fantastic lyrics in there. It was also amazing to get a contribution from the one and only Andy Latimer on the latter track. I’m very pleased with it all and I can’t wait to see what people think of it.”

A new Tiger Moth Tales release is always a joyous occasion and this new album is no change. Peter Jones is a consummate musician and performer and has that knack of knowing how to write a catchy tune that just clicks. Take opening track Spring Fever another jaunty track that just oozes joy and the feel of the seasons changing, lighter mornings, hazy sunshine and a massive feeling of goodwill. Pete’s sax playing is just phenomenal and adds an added layer of class and a feel of 80’s jazz to proceedings. Forester, with its penny whistle, sees Peter take us back to his earlier works and that impish, at one with nature, fairytale brilliance that only Tiger Moth Tales can imbue. Don’t be fooled though, there is a bit of the dark forest shadows about this song too, very clever songwriting.

Dance Till Death definitely shows Peter’s darker side being, as it is, his take on Stravinsky’s ‘Rite of Spring‘, which is based on about arcane rituals that revere the advent of spring in which a young girl is chosen as a sacrificial victim and dances herself to death. There’s not much light and joy in that as a subject is there? This song, however, is beautifully constructed, hypnotic and mesmeric, almost like a musical opiate. Deliciously dark and yet strangely euphoric in places, it really does stand out on an album full of superb tracks. John Holden wrote the lyrics to the Hindu Festival Of Light based Holi and it is a short but dynamic piece totally infused with that far eastern feel. The stunning, ethereal brilliance of The Goddess And The Green Man is another short piece, this time with the lyrics contributed by Holden’s wife, Elizabeth. Wistfully elegant piano and acoustic guitar contribute to one of the most endearing tunes you will hear.

Peter Jones’ can always inject a whimsical, humorous tune into his works and, on ‘A Song of Spring’, it’s the brilliant, tongue in cheek, capriciousness of Mad March Hare. These kinds of songs from Peter never fail to make me smile and the jolly sax and playful vocals help to deliver another moment of delight. It might just be me but, when the intro to Rapa Nui starts, I immediately think Led Zeppelin! Just me then? The staccato riff and energetic drums and bass combine to give a real hard rock rhythm to another John Holden penned track lyrically. Jones is on top form vocally and delivers a fantastically dextrous performance on what could be considered the most progressive track on the album and one that weaves its tale quite superbly.

Final track Light is about coping with the death of a partner and recovering, with the notion that the new season and curative powers of Spring will bring a sense of healing and of being thankful for the end of darkness and the end of Winter. Written by John and Elizabeth in conjunction with Peter, this song is utterly gorgeous, thoughtful and, ultimately, uplifting, bringing the album to a close with a stunning guitar solo from Andy Latimer.

Actually, to be truthful, it isn’t the final song as there is a bonus, hidden, track that starts about a minute after Light. A funky, heavily jazz infused, instrumental, Maytime could stand on its own as a really, really good piece of music but, tagged on at the end of the album as it is, it just seems a bit out of place to me!

‘A Song of Spring’ sees Peter Jones’ Tiger Moth Tales return with a triumphant collection of songs that touch on love, loss and everything in between but, ultimately this sublime album heralds the return of spring and celebrates the love of life itself.

Released 4th March, 2022.

Order from White Knight Records here:

Tiger Moth Tales – A Song Of Spring (whiteknightshop2.co.uk)

Review – This Winter Machine – Kites – by Leo Trimming

Kites can be blown about in many unpredictable directions but somehow they remain tethered to the ground, and that appears to be a perfect symbol of the journey of the third This Winter Machine album ‘Kites‘, which is due out on 25th October. Let’s face it, the world has taken a rather unexpected battering in the last couple of years, but, on another level, This Winter Machine have also faced considerable upheaval in that period, leaving the main man Al Winter to have to recruit a whole new band around him. Such disruption would have spelled the end of many bands but on the evidence of this album it appears that Al has used it as an opportunity for the band to be re-born.

‘Kites’ is still recognisably in the same vein of the This Winter Machine sound developed on ‘The Man Who Never Was‘ (2016) and ‘A Tower of Clocks‘ (2019), but there is a different feel to this album, with echoes of the 1980’s threading through an album suffused with nostalgia, regret and some defiance.

Al Winter has described the theme of the album as:

“how we fight against life and the directions it blows us in… It’s about how we fight against being blown in the wind, but we don’t realise until we look back that these were some of the best days of our lives… we were buffeted by the wind but we always had the rope anchoring us to the ground… …and some day we’ll all be kites for the last time.“

So, it would appear that, buffeted by circumstances, Al was the rope that tethered This Winter Machine so it was not lost to the Four Winds. However, the question is has this new incarnation of the band managed to make a successful transition with their new album?

There is definitely a whole new feel around the double guitar attack (with a decidedly more fluid style) and the keyboard sound is significantly changed. The departure of keyboardist Mark Numan from the original version of This Winter Machine was potentially the most significant issue for the band as he was a central member of the band in terms of writing the music. Two songs on this new album, This Heart’s Alive and Broken, still feature music written by the talented Numan. Indeed, Mark Numan’s original keyboards can still be heard on the yearning, heart-breaking and beautiful Broken. Al Winter has partly solved the keyboard issue for this release by recruiting the talented Pat Ganger-Sanders of the band Drifting Sun to guest on keyboards for the majority of the album, along with Reuben Jones on the final two tracks of the album.

Apparently, the search for a long-term keyboardist continues but Ganger-Sanders definitely provides some high-quality input, particularly on his self-penned opening piano intro Le Jour D’ Avant, and, in contrast, some great, towering organ work on the following dramatic two part piece The Storm. This blockbuster opens with sinister apocalyptic warning announcements, some rumbling drums from by Alan Wilson and a sinister bass line from Dave Close that sounds like its slouching towards Bethlehem. Killer guitar riffs blast in and Ganger-Sanders adds Gothic pillars of organ to the structure of this epic sounding song. Meanwhile, Al Winter sounds like he’s bellowing defiantly into the teeth of a howling gale, such is the passion he is putting into the vocals. However, we seem to hit calmer waters with a sudden change in tempo and atmosphere with a gorgeous fluid guest guitar solo from Mark Abrahams of the legendary band Wishbone Ash, around which Ganger-Sanders weaves eerie, shimmering synth lines.

This lovely section fades away to the sound of water and acoustic guitar for part two of The Storm. In this calm eye of the Storm wistful, heartfelt words from Winter are framed in a delightful acoustic pastoral setting, with some lovely subtle bass work from Close. The full power of the Storm soon returns with an infectious wall of sound from the band as guitars and keyboards combine magnificently with the rhythm section, before a flowing guitar solo by Dom Bennison takes us towards an echoing guitar and synth coda which almost feels like light reflected in water.

That liquid sense is maintained in the short but smooth (almost jazzy in places) bass led instrumental Limited, written by bassist Dave Close. This feels like a linking piece as does the later much more dramatic Bennison written short piece Whirlpool in which Ganger- Sanders in particular shines in the musical maelstrom alongside Bennison’s lead guitar. Enjoyable as they were, there was a sense for me that these two shorter instrumental pieces sound like they could have been parts of more ambitious extended pieces. Maybe in future as this formation of This Winter Machine becomes more established, they may develop such pieces further… or maybe they just like them the way they are – what do I know?!! (😊)

This Heart’s Alive has been kicking around as a song for some time (the band spoke about this song as due to appear on ‘A Tower of Clocks‘ to this reviewer in an interview in 2018) but I can hear why it was held back for this album as the style very much fits the melodic and melancholic feel of much of this latest release. It commences rather pastorally with acoustic guitar and subtle synths and then flows along lushly with gorgeous harmony vocals for the refrain (and even a short beautifully sung acapella interjection later on). An understated and tasteful guitar piece from Bennison adds emotion and class – he really is quite a find for Al Winter and the band, complimenting Winter’s lovely vocal melodies with Andy Latimer and Steve Rothery type guitar flights. Some may feel the song out stays it’s welcome a little with its repeated refrain, whilst others will delight in its mantra like progress.

This Winter Machine tread rather new ground on the gorgeous love song Sometimes, which features the inimitable vocal talent of Peter Jones of Tiger Moth Tales and the legendary band Camel. This lovely song is testament to the fine song writing talent of Al Winter and also shows a generosity of spirit and insight into what other artists could bring to his work that he invited Peter to sing one of the best songs of the album. There is a distinctly Folk feel to the song with an acoustic guitar strumming as Jones imparts a great vocal melody and then is joined for a rich vocal harmony refrain. The band come in with finely judged contributions as the song builds towards a beguiling violin solo from Frenchman Eric Bouillette, who usually plays electric guitar with The Room and Nova Cascade. It’s an infectiously lovely sounding ballad.

Pleasure and Purpose, alongside The Storm and Sometimes, is one of the standout tracks from the album, and may be one of the best ‘songs’ that This Winter Machine have ever recorded as it skilfully and intuitively combines a touching set of emotional lyrics with memorable melodies and skilful instrumentation. It is also a great showcase for Winter’s classy vocals, smoothly ranging from fragility to real passion. This is a song which has really burrowed into my soul and has been on constant repeat for some days now.

Al Winter has shared the background to the song as follows:

“…it’s about how a lack of clear communication brings an end to relationships. Things that can be sorted easily grow until they become unmanageable. It often means there’s no going back”

It is remarkable that often the best songs are also the saddest, and this is a piece imbued with a great sense of regret with powerful lyrics touching on deep emotions:

I just needed Forgiveness, A Little Restraint, I needed the time so I could just explain

All the Pleasure and Purpose tumbling down, Now there’s nothing but anger, covered in shame

And I finally had to accept the blame, All the Colours and Virtue just left on the ground

At the zenith of Winter’s vocals This Winter Machine take the song onto more musical heights as first Simon D’Vali plays a stratospheric guitar solo which Dom Bennison then joins in a flowing dual guitar harmony. Bennison then takes on the second half of the solo in an equally rippling fluid guitar display before the piece suitably fades wistfully – it’s a wonderful song.

‘Kites’ concludes with the upbeat title song, commencing with an impassioned yell from Al Winter – yeah, it has been quite a year or two, Al! Whilst much of the album has explored more melancholic and introspective areas Kites feels more defiant and triumphant:

So all of the people for all of the time, You can’t go thinking it’s the end of the line,

There’s gotta be something that we can do anytime

This would make a great live song to stir the crowd, with the quality rhythm section of Wilson and Close driving this rock song on. In the latter half Bennison throws in another great guitar solo before a curious vocal sample haunts the melody. Al Winter has given two explanations for this mysterious haunting voice in the background as either ‘a disembodied voice recorded in a Haworth graveyard at midnight on the longest day…’ Alternatively and more prosaically he explained ‘it’s an early advert for an Edison Phonograph… it sounded quite romantic and nostalgic’. I think I prefer to believe the first explanation!

Well, what’s the answer to the original question: has this new incarnation of the band managed to make a successful transition with their new album?

As this album is called ‘Kites’ it may be worth recalling that Benjamin Franklin once rather eccentrically in the 1750’s reportedly flew a Kite in an electric storm to try to collect electricity through the line into a metal key in a Leyden jar (don’t try this at home, kids!) It could be said that similarly, Al Winter sent this new version of This Winter Machine aloft with ‘Kites’, and that the album has similarly been charged with a surge of electricity and new life. Exposed to the elements alone Al Winter formed a talented new band and has clearly drawn great energy and inspiration from this new This Winter Machine. After a torrid couple of years generally and for the band it is utterly remarkable just what a high-quality album This Winter Machine have created. ‘Kites‘ will rightly sail high to be regarded as one of the best melodic progressive rock albums of 2021, and the future looks very bright for the band… as long as someone holds on to the rope!

TRACK LISTING:

  1. Le Jour D’Avant                       (1.40)
  2. The Storm (Part One)             (5.37)
  3. The Storm (Part Two)             (4.37)
  4. Limited                                      (2.00)
  5. Pleasure and Purpose            (6.35)
  6. This Heart’s Alive                    (6.31)
  7. Whirlpool                                 (2.17)
  8. Broken                                      (4.58)
  9. Sometimes                               (4.05)
  10. Kites                                          (7.19)

Released 25th October, 2021

Order direct from the band here:

Kites – CD Album PRE ORDER – This Winter Machine

Review – Cyan – For King And Country

Taking music written and recorded over thirty years ago and rewriting, rerecording and reimagining it can be said by some to be a cynical marketing exercise and I must admit I wasn’t entirely convinced when I heard that prog scion Robert Reed was resurrecting his old Cyan band name and doing just that with the original material.

To be fair to Rob, I had to listen to the album and make my own mind up and, after just a couple of listens all the negative connotations disappeared. Whether it helped that I had never heard the material before, I don’t know but this ‘new’ album is like a breath of fresh air, the songs are wonderfully created and performed by this stellar collection of progressive rock stalwarts.

You will never go wrong when you have the dulcet tones of Peter Jones ( and his superb flute playing) gracing your album, add in the searing guitar talent that is Luke Machin and the stylish bass of Dan Nelson then you have the beginnings of something special. Take that trio and add the unique talent that is Robert Reed and you take everything up another notch and on this album they create something quite remarkable indeed.

A beguiling musical journey from the powerful and compelling The Sorceror to the emotive highs and lows of the incredibly moving title track For King And Country, I have never stopped smiling through my multiple listens to this outstanding achievement. There are some highlights, like the amazing Snowbound and its dazzling display of instrumental brilliance, the warm and tender wistful tones of I Defy The Sun, the epic and intricate scope of Man Amongst Men and the joyous strains of the beautiful Call Me, but every track is a sweet-sounding gem and whenever the amazing voice of Angharad Brinn blends seamlessly with Peter Jones then the symmetry is just perfect.

Rob Reed: “Little did I know in 1983, sitting at the school piano writing these songs, that almost 40 years later those same songs would sound like they do on this album. I remember the original Cyan, made up of school mates, pooling our money, £35 to record them at a local 4 track studio with basic equipment. It’s been amazing to finally hear the songs at their full potential, with modern recording techniques and an amazing line up of players.”

I never mind admitting when I am wrong and my initial thoughts about this release were so wide of the mark that they were downright embarrassing. Robert Reed has looked to the past to create something that is definitively of our time now. A masterpiece of intricate melodies, mellifluous vocals and intelligent songwriting, ‘For King And Country’ delights on every level and makes you smile. You can’t really ask for much more than that, can you?

Released 24th September, 2021.

Order the album here:

Cyan (tigermothshop.co.uk)