When this first came into my orbit I’ll admit that I was reluctant to review it, partly because I reviewed the ‘Final Flight’ set last year and I wondered what could be different this time and did we really need another outing for albums that have pretty much been done to death with multiple releases and versions?
So what changed my mind then ?
I’ll tell you, it was the very heartfelt and emotional tribute to Paul Hanlon that opens the song Shine, a song written by Neil Morse about Paul in 2015. This touching tribute is a glorious celebration and tribute to a man who suffered terrible disability and yet faced life with bravery and dignity, always allowing his strong faith to sustain him. It is this facet that made him Shine in Neal’s eyes, hence the deeply moving song. On the live DVD they show a screenshot of Paul at Morsefest in earlier years, and a well observed tribute it is too. I’d been with Paul at a transatlantic show for the ‘Kaleidoscope’ tour where Neal had come offstage to embrace Paul in a spontaneous moment of brotherhood leaving barely a dry eye in the crowd, so this tribute is sincere and gracious and very heartfelt and emotional.
Another thing that caught my attention was the sole live performance of In Held (‘Twas) In I, originally by Procul Harum in 1967, which is a faithful and strong take on the song. In fact, it has made me revisit the original Procul Harum version afresh to enjoy and compare to the Transatlantic take, which is an authentic and solid version. There is also a looser version of We All Need Some Light that most definitely impresses greatly.
So, in the opening four tracks you are already fifty-five minuets plus before you even get to the main event, which is night one of the 2 day Morsefest, a run through of the full ‘Whirlwind’ album in all its glory, an album I own but have never really got to grips with in any significant way. Well, I have to say that here it is a revelation, maybe the passage of time has imbued the album with more gravitas or maybe I am more open to its charms now but, I have to acknowledge that Transatlantic have definitely given this old album a fresh new sparkle. The addition of strings and a choir adding hugely to the beauty and dignity of this album.
I Really enjoyed this rendering of this album. Yes, it’s long, possibly overlong, and definitely overblown and pompous but, hey, the prog world welcomes excess and pomposity with open arms and few deliver that better than this particular troupe. So, revel in its glory, and the recurring melody of ‘The Whirlwind’.
Now hopefully you are already acquainted with the ‘Whirlwind’ album that I barely need to say much about it, except for the fact that they deliver a polished recital of the album, taking in its highs and themes with a splendid sound and vitality that enlivens the material handsomely. Especially noteworthy is Is It Really Happening which has significant snap, crackle and pop, as does the end track Dancing With Eternal Glory / Whirlwind which concludes day one of the festival.
It is actually the latter part of the album that worries me, In that, whilst everything is certainly up to the usual Transatlantic standard, the question really is simply: why? Do we really need a further version of an album that has seen at least three different versions and a live “Final” edition? Why would anyone, except completists, want yet another, albeit well delivered, version of an album that was somewhat inconsistent and overblown/overlong already?
Yes, it may be nice to have but, for me, this feels like milking your audience and, despite the sweeteners of a hitherto unrealised live version of a deep cut from their earliest days and a new final encore that encompasses the ‘Bridge Across Forever’ album this, for me is a step too far and somewhat unnecessary even. Okay, I know Morsefest is a somewhat special gathering to Neal and his followers, but this in itself doesn’t really warrant such a colossal box set of 6 CD’s and 2 DVD’s or maybe it does and I’m wrong?
For me I think it isn’t really a valid reason for such excess, nice to have for fans and completists but, for the rest of us, not really needed and superfluous to requirements, you’ll have to decide for yourself here…
Polish progressive rock outfit Amarok were founded in 1999 by Michał Wojtas, taking on various forms over the course of the next twenty-five years. Their early works had strong influences from the likes of Mike Oldfield (the name of the band was taken from the title of one of his albums) and Pink Floyd. Later, the sound began to evolve with a more ambient nature, along with elements of folk – and it was then that the original, unique character of the band began to take shape. For many years the band’s core was Michał along with Marta Wojtas but, since 2020, it has been a four piece with Konrad Zieliński (drums) and Kornel Popławski (bass and violin). 2024 sees the release of the this, band’s seventh album, ‘Hope‘, after a three year hiatus. It contains ten ambitious, high-level compositions, developed over two decades and it will not disappoint fans, new or old!
I’ve been a big fan of this band for quite a few years now and this new album just cements Amarok as one of the seminal Polish progressive rock bands out there, up there with Riverside at the top of the pile in my opinion. Their musical style fluctuates throughout their discography and throughout this album but the core and the centrepiece that holds everything together is Michał’s stunning guitar playing. His amazing guitar bleeds emotion and sounds like it is almost talking to you, all the while surrounded by the dense, complex and primeval wall of of sound created by the epic rhythm section of Konrad and Kornel.
There is still more than a hint of Pink Floyd and Mike Oldfield to the band’s sound but they now have a sophisticated and mature sound that is unique to them, fans of the band will instantly recognise that this is an Amarok release from the first few notes of opening track Hope Is, an almost technical and industrial vibe coming from the bass and distorted guitars. Marta’s dominant spoken word piece demanding attention in a truly hypnotic way and the keyboards washing over you majestically. Michał’s compelling guitar solo is the icing on the cake, vibrant and awe inspiring. Stay Human takes a more wistful and nostalgic path, the music and vocals pared back and withdrawn in delivery. The delicately plucked guitar adding suitable pathos to the calm atmosphere before the track opens up into something much more dynamic and impulsive, an intelligently created piece of music that echoes in your mind long after it has gone. One of my favourite pieces on the album, Insomnia is Amarok at their very best, the guitar playing inspired by Gilmour at his height but the growing anxiety akin to insomnia itself. This is a sonic salve for the mind and for the soul, it makes you think while you also admire its sheer elegance and beauty, something that this superb band have become very adept at. The vocals are perfectly judged and, once again, a dazzling guitar solo crowns it perfectly. Trail takes us off into trance and electronica, and quite magnificently too! Imagine Mike Oldfield teaming up with Faithless and you wouldn’t be far wrong, the urgency instilled by the keyboards is palpable in nature and the guitars perfectly match the vocals, it’s just brilliant and time almost stands still as you revel in the music.
Welcome and Queen are the works of Konrad Zieliński and Kornel Popławski respectively. Let’s head back in time with the former as it moves into Depeche Mode territory and their ‘Violator’ album. Zieliński provides vocals on this leviathan of a track, a sound that is hewn from granite emanating from the speakers as it draws you in with its monumental distorted guitars and powerful drums. A totally different listening experience but one with its roots firmly in the Amarok universe. Queen is as leftfield as it gets for Amarok fans, trip-hop, shoe-gaze, call it what you like, it is low key and almost sinister in its delivery. It’s throbbing, animated groove leaves you feeling a little off-kilter and Popławski’s vocals are as direct as they get. How refreshing to see the band exploring new territory and just check out Kornel’s violin solos too, sinuous almost alive, they are deliciously dark and machiavellian. Perfect Run is a fast paced, electronic thrill ride of potent keyboards, aggressive drums and crunching guitars, an instrumental of epic proportions that holds nothing back and is another highlight of the album.
Wistful, moving and a simply gorgeous eclectic ballad, Don’t Surrender was written a few years ago and nearly didn’t make the album but I’m ever so glad it did. It tells the story of taking on every challenge regardless of the obstacles that stand in the way, using the metaphor of water that is at once gentle and elemental and it flows perfectly. The vocals are sublime and the music simply elegant with a spectacular, dazzling guitar solo, Amarok at their ethereal, lavish best. Simple Pleasures is possibly the most elemental track on the whole album, laid back, calm and collected, it still shines brightly as another fantastic piece of music. Thoughtful, dreamlike and, at times, nostalgic, it leaves you in a relaxed and contemplative mood, the stylish, uber-cool guitar a wonderful high point. Things come to a close with the simplistic brilliance of Dolina, the only Polish language track on the album. It is like listening to someone baring their soul and literally brought tears to my eyes, the raw emotion of the vocals and lack of any frills or glamour is perfect and is a wake-up call for dormant sensibilities.
An utterly stunning collection of songs that bears Amarok’s impressive hallmarks throughout, ‘Hope’ is one of those albums that hits you at a base level in a totally emotive way. It is music for the mind and the soul and in a world collapsing around our very feet, we all need some of that, don’t we?
Age of Distraction is a thrilling new collaboration which spans across the contemporary UK progressive rock circuit. In 2023, founder member and lead writer John Cook (ex-This Winter Machine, ex-This Other Eden) recruited rising-star Charlie Bramald (Ghost of the Machine, Shadows On Mercury) on vocals, gravity-defying bassist Mark Gatland (Hats Off Gentlemen It’s Adequate, IT), and multi-instrumentalist plus producer-extraordinaire Dom Bennison (Last Motion Picture, ex-This Winter Machine) to occupy the drum stool and handle production duties.
Together, the band has created a debut album which explores the boundaries of melodic, accessible progressive rock and metal, evoking an atmosphere all of its own in the process.
This blend of contemporary progressive rock and melodic metal opens with the pensive instrumental The Uninvited which features the emotion laden piano and keys of Ruby Jones (The Exotic Ices Project) and a post apocalyptic sounding vocal overlay. It’s a powerful intro that ebbs and flows dynamically before segueing into Break My Bones that gives up a thunderous intro before Charlie’s eloquent vocal takes over. A prime example of the progressive metal/ contemporary rock sound that is all the rage now, it flows melodically but there is always a persistent edge to the song. Featuring a guitar solo from John Cook that is both emotive and stirring in equal amounts, it certainly stands out. Dom’s machine gun drums open the edgy Compromised, a track that seems to stride purposefully across your acoustic synapses like a musical invasion. I really like the feel of this song and Charlie’s stirring vocal adds real menace. More of a hard rock track that leans into the metal genre a touch, there’s real power and soul to this stylish piece of music and, once again, a rather impressive guitar solo adds the finishing touch. Protect Me begins with a slow burning, low down feel, suspenseful in tone and delivery. The vocal is delivered in a measured and earnest manner, adding to the heartfelt aura that this impressive song engenders. There is a primeval power at the core of the music as the echoing guitars leave their impression on you and just check out that ever so soulful solo! The Plea is a short, musical amuse bouche full of wistful guitars that bleed melancholy and leave a lump in your throat, it’s very clever songwriting and just adds to the story that the band are creating.
The dark, brooding wonder of Take Me Down once again features the elegant piano and keys of Ruby Jones and also the distinctive, dignified vocals of Philip Stuckey (Stuckfish) and is one of the best songs of this genre you are likely to hear this year. There’s an age old wonder to the feel of the song, a nostalgic desire evident in Richard’s voice, it is music that is epic in scope and delivered in a widescreen fashion and I’m really impressed with this track. Title track A Game Of Whispers goes hard and heavy again with a monolithic feel to the drums and guitar and Mark’s bass has an age old feel to its delivery. Charlie delivers another menacing vocal and we end up with a song that wouldn’t be out of place on a Judas Priest album. There’s a melodic power at the core of everything that this talented quartet deliver and vibrant, densely layered feel to the sound and it is no more evident than on this highly impressive piece of music. This amazing musical journey continues with the vivid and animated hard rock infused instrumental The Point Of No Return, staccato and imposing guitars combining with the immense drums to create a phenomenal wall of sound that consumes all that encounter it.
The oasis of calm that is Oceans slows the pulse and reduces the blood pleasure after the enjoyable sonic assault that preceded it. A plaintive, pensive feeling song that leaves your breath catching as you let its emotions wash over you. The stylish, wishful acoustic guitar a match for Charlie’s heartfelt vocals on what is one of the albums more contemplative moments. Another short pause on the journey, The Left Unsaid is two minutes of thought provoking music that leaves its mark on your mind as it passes through. For me, the highlight on this ever impressive piece of work is the breathtaking Sneak Attack. It’s classic progressive metal at heart but with a real contemporary edge to the delivery. Intellectual and impassioned at the same time, there’s real drama to the music and an almost theatrical delivery to Charlie’s vocal. There’s been a resurgence of keyboards in contemporary, melodic prog rock and the writing on this album just leaves room for plenty of atmosphere and plenty of keys! A stand out track on an album of imposing songs, the highlight is most definitely John’s stunning guitar solo towards the end that makes the hairs stand up on the back of your neck. The album finishes with the uplifting My Peace, a beautiful, soaring piece of music that brought a lump to my throat (and tears to my eyes but we will ignore that bit!) and just leaves a feeling of hope and expectation in your heart.
2024 has already been a bumper year for superb releases and Age of Distraction have just added another fine album to the mix. ‘A Game Of Whispers’ is a collection of mighty fine songs that define the contemporary progressive rock and melodic metal genre and is a dramatic and profound listen from beginning to end. My recommendation is you just go out and buy it!
When is a solo album not a solo album? There’s a conundrum for you. Well, there’s a story behind this latest release from The Tangent universe, ‘To Follow Polaris’ by The Tangent For One. The ‘One’ in the artist name is, as I’m sure you can guess, Andy Tillison and let’s discover why this new collection of impressive progressive rock is not Andy’s latest solo creation…
‘To Follow Polaris’is a new ‘full on’ Progressive Rock album by The Tangent, set to be released on the 10th May 2024 (InsideOutMusic). That’s not necessarily a surprise, that’s what the band are known for. But at the same time, it’s something else too. As Andy jokes, playing on the Jaws strapline, he says “well this time it’s actually no personnel”.
In a year when members of The Tangent could be seen onstage all over the world and on recordings by many greats of the prog world, it became clear that there was not going to be time to get together for anything more than one gig in April 2023.
So the band agreed that the band’s leader/main writer Andy Tillison would keep the material coming and would make an album by The Tangent entirely alone. It would still be The Tangent. Just for one.
“Besides Which” Andy says, “I’ve always wanted to do this, use what I have learned from Luke, Jonas, Steve, Theo and many other alumni and take it to final production. Now was the time!”
What transpired over the following year is in one sense an ‘absolutist’ solo album and is entirely the work of one person in all aspects including artwork, layout, design, lyrics, composition, performance, recording, production, mixing, mastering and authoring. But in another sense it’s totally Tangent. “I could not have begun to make this record without having had the experiences of working with the band. So although the different instruments are not attempted to be played in the actual style of the normal lineup, they are inspired by the kind of things these guys do”
So there you go, it’s an album by The Tangent, but not all of them and yet it does sound like it’s by all of them, still following? Let’s have a listen and see for ourselves, shall we?
For anyone who is a fan of Andy and The Tangent you will know immediately that this is an album by The Tangent, he has created a very distinctive sound over the years and one that I can’t get enough of. Created from Andy’s love of artists such as Yes, Van Der Graaf Generator, Porcupine Tree, Groove Armada, Earth Wind & Fire, Roger Waters and his bands, Return To Forever, Deep Purple, GentleGiant, Steely Dan and any band featuring the keyboard player Dave Stewart, but neither a homage to those artists or a pastiche of their sounds. Andy’s instantly recognisable music is unique to him and The Tangent and is based mostly around his stellar keyboard playing.
The North Sky opens the album with style and panache and is indicative of The Tangent with the elegant keyboard flourishes, dynamic guitar playing and ever funky bass that has a wonderful jazz vibe to it (and is the first time you will hear Andy playing bass on any of his recordings). This song is a hopefully joyous celebration of life under the sky, there is a fluency to this vibrant piece of music, an urgency and joie de vivre that is as addictive as it is palatable, Andy’s stick driven (electronic) drums providing the drive and electronic wind controller the high notes and polish. The wistful, dreamlike section in the middle of the piece is an oasis of calm that gives you a moment to catch your breath and adds to what is a simply stunning start to the album, there could even be a musical nod to Close Encounters in there but that could just be me! Andy’s singular vocal is as acerbic as ever, love it or hate it (and I love it), to me it is much part of what makes The Tangent tick as anything else and his laconic storytelling adds a classic patina to everything the band do. Andy likens it to“sort of channelling the feeling you get contemplating the wonders of the seemingly infinite universe while riding a Harley Davidson”, exactly… A Like In The Darkness takes a more measured approach with a hushed vocal adding to the moody, thoughtful atmosphere. Imagine a smoke filled, whisky soaked venue with the lights down low and an attentive audience hanging on every word and every note, rapt in attention to the musician in front of them who is holding everyone’s attention with his charismatic persona. A beautifully observed slice of jazz/prog fusion, idiosyncratic in delivery and design, it’s a brilliant piece of music with its roots most definitely in the 1970’s and that era of creative, sometimes mind boggling, music that crossed so many genres that it became obfuscated but was always highly entertaining. For Andy it is a personal look into the world of being an obscure artist in the 2000’s, a world where legalised piracy starves musicians and the rationale for that has actually somehow succeeded in replacing payment with “likes” on social media as a sign of “success”.
“A song about “Constant Bad News – something I have heard nearly everyone I know speak about regardless of their age or background.” That’s Andy’s short precis of The Fine Line, a song that, despite its subject matter, has a real cool and elegant feel to it. Imagine Gentle Giant turning up to a 70’s disco party dressed as Earth, Wind & Fire and you’re some way to getting the vibe of this gloriously funky piece of music. An acerbic social commentator he may be (or that could just be the Yorkshireman in him!) but Andy is just a lover of music and a lover of creating music at heart and that can be sensed through every word and note of this track and please just check out his fantastic, laid back bass playing! Andy says it owes a lot to ‘Aja’ period Steely Dan and is also a nod to Petula Clarke’sDowntown and, let’s be honest, it doesn’t get more prog than that! While Andy and The Tangent may be known for their brilliantly creative prog epics, it’s songs like this that define the true nature of the man and his music for me and I love it. Talking of lengthy prog epics, no true album by The Tangent could be classed as complete without twenty plus minutes of prog largesse and pomp and circumstance, all with a bit of true Yorkshire caustic diatribe thrown in for good measure and that’s what you get with The Anachronism. The song posits that all forms of government are manifestly unfit for purpose, unless the purpose actually is to create division, argument, suffering, war, poverty, racism. It centres on elections in so called democratic nations in which the amount of “say” a person actually has in this democracy is so vanishingly small that in two major Western Nations only four manifestos will even be actually considered in 2024. The longer song is a format that Andy likes to work in and he has loved this format since hearing Close To The Edge by Yes and you can tell, all of the longer tracks by The Tangent can be considered classic songs by the band and this is no exception. A track driven by purpose and calculation and a piece of music with a lot to say and which is delivered eloquently and in a direct manner. The music is as stylish as ever and travels across many genres seamlessly, almost a who’s who of 70’s prog styles and embellishments but all delivered in Andy’s witty and self-effacing style.
The Single (Taken From A Re-Opened Time Capsule) is a re-recorded version of a track Andy wrote more than 25 years ago for his band Po90. As it never reached that many ears he thought he would update it. “It comes from an album called ‘The Time Capsule’ which I did say that one day I might revisit… because that was implied by the title.” Andy continues, “It is a song that in many ways was the place The Tangent actually began. in and among all the dark Po90 stuff, here was this little ditty that was almost a blueprint for songs like “GPS Culture” , “Spark In the Aether” and even “The North Sky”. Now Spark In The Aether is my favourite all time shorter track from the band so it means that The Single had a lot to live up to and, while it may not replace Spark in my affections, it is definitely up there. Lyrically it’s very focussed (As Fine Line) on News Media/Music Business and the contemporaneous attitudes towards Progressive Rock Music itself. It’s a marvellous piece of The Tangent history updated for a new audience and you can see the evolution of the band and Andy’s songwriting in its six minute running time.
The album closes out with a Radio Edit of The North Sky which intensifies and concentrates the inspirational feel of the original and, if you get the limited edition CD Mediabook or 2LP Vinyl, the bonus track Tea At Bettys, seventeen polished minutes of delightfully 70’s feeling easy jazz music, interjected with some frenetic and intentionally chaotic interludes, dedicated to the iconic Harrogate Tearooms that I have been lucky enough to frequent on several occasions.
‘To Follow Polaris’ is intended to be thought of as a regular Tangent album – but not as the future of the band. It’s everyone’s intention to make the FOURTEENTH album as The Tangent. For Five. However, taken in isolation, what you have is a wonderfully inventive and amazingly performed collection of songs that stay true to the core of Andy and the band’s beliefs. Witty and acerbic throughout but with some moments of pure musical bliss, it is yet another highlight in this storied musician’s stellar career.
Renowned producer, singer, and multi-instrumentalist Shaun Holton, known under the moniker Projected Twin, is set to mesmerise audiences once again with the release of his latest single, “A Feat of Rage,” from the highly anticipated album “The Life & Death of Shaun Holton.”
Holton, who recently assumed the role of lead singer for the critically acclaimed Australian Progressive Rock band Southern Empire, has been making waves in the music industry. Southern Empire’s 2023 album, “Another World,” received widespread acclaim, with Holton’s vocal prowess earning him recognition as one of the best vocalists of 2023 by Prog Press “The Prog Mind.” The album itself was listed among the top 10 releases of 2023 by “Prog Magazine,” standing shoulder to shoulder with progressive icons Steven Wilson and Peter Gabriel.
“A Feat of Rage” marks the first single from the forthcoming Projected Twin album, which represents Holton’s fourth full-length release. This album is highly anticipated as it follows the conclusion of a conceptual trilogy of albums, the cult-celebrated “Earth/World” series.
Projected Twin’s sound is deeply rooted in progressive rock, drawing influences from 90s alternative, pop, rock, and metal icons such as Filter, Incubus, and Alice in Chains. Holton’s journey into the world of prog began in late 2005 when he was introduced to the discographies of Porcupine Tree and Opeth, alongside local Australian alt-rock/prog icons Cog and Karnivool.
Commenting on “A Feat of Rage” and the upcoming album, Holton shares, “This single is a glimpse into the sonic journey of ‘The Life & Death of Shaun Holton.’ It’s a blend of progressive elements with the raw energy of alternative rock, offering listeners an immersive experience.”
“The Life & Death of Shaun Holton” represents an ironic take on Holton’s public display of an identity crisis since Projected Twin’s conception, questioning whether he is, in fact, the artist ‘Projected Twin’ or ‘Shaun Holton.’
Listeners can immerse themselves in the captivating sounds of “A Feat of Rage” on all major streaming platforms starting 12/4/2024. Stay tuned for the release of “The Life & Death of Shaun Holton” for a musical experience that transcends boundaries and genres.
Listen to, and order, the track from bandcamp here:
Projected Twin is the musical brainchild of producer, singer, and multi-instrumentalist Shaun Holton. With influences ranging from 90s alternative to progressive rock icons, Projected Twin’s music offers a unique blend of sonic textures and emotive storytelling. “The Life & Death of Shaun Holton” represents the next chapter in Holton’s musical journey, promising an immersive experience for listeners.
After the release of their new album ‘This Is What A Winner Looks Like’ last year, Godsticks have continued to keep up the momentum in 2024 with a run of UK shows at the start of this year alongside an appearance at Planet Rock’s Winters End Festival.
Now in June and September the band are continuing to build on this success with even more live dates across the UK. Frontman and guitarist Darran Charles had the following to say:
“Our last few tours have easily been our most successful to date. Upon reading some of the reviews of those shows, it’s heartening to see that we’ve become recognised as a high-energy live act, even a ‘must-see’. This recent success is why we’re planning on touring far more regularly and travelling to places that we’ve never been to before.
If we can keep growing the audience numbers as we have been, then it’s our ambition to create an even more special live experience and perform on some even bigger stages. However, we must admit that the intimate venues we’ve been playing of late have definitely made for some very memorable shows, so we’re determined to create more.
One thing we’re confident of is that once you come to one Godsticks show, we’ll guarantee you’ll come to the next one – it’s a great time for both the band and the audience. Miss us at your peril!”
Their love for writing and productivity had been reignited simply by being able to perform live. Experimenting with electronic sounds and delegating writing duties in the band allowed ‘This Is What A Winner Looks Like’ to be their most collaborative album to date.
Sirin album out 31st May; ‘We Are The Ocean’ lyric video streaming now
Album guest features include Jim Grey (Caligula’s Horse) & Mick Moss (Antimatter).
Progressive dark folk artist Marjana Semkina has announced the release her second solo LP – Sirin – on 31st May 2024 along with a Kickstarter campaign. She has also unveiled the first single ‘We Are The Ocean’ along with a stunning lyric video.
Watch the lyric video for ‘We Are The Ocean’ here:
Known for her work as the vocalist of prog duo Iamthemorning, self-exiled Russian Marjana has forged a successful solo career with two critically acclaimed solo releases: her 2020 debut solo album Sleepwalking, and 2021 follow-up EP Disillusioned. Like its predecessors, Sirin is a journey of dark stories and fairy tales, told with Marjana’s uniquely captivating voice, on a foundation of detailed musical arrangements. However there is a prevailing darkness and grief, inspired by of Russian invasion of Ukraine, with the first single about by the protests.
On new single ‘We Are The Ocean’ Marjana comments: “This song was inspired by all of my Russian friends coming out to protest against the war when it started, despite the fact that there was a very good chance they’d get arrested for doing so – a lot did in the end. I wrote lyrics to this song on a train to one of those protests in London, Trafalgar Square in early March 2022.”
On the album Sirin, she continues: “Sirin is a mythical creature from ancient Slavic mythology, half-bird half-woman, she’s a harbinger of bad luck and death, and it’s believed that if you meet Sirin a big catastrophe will happen – except in case with the events surrounding this album it’s already happened. Sirin cries and mourns for humankind, and nothing can be more appropriate in this day and age. Sirin is one of very few creatures that can travel between worlds – a world of gods of light, a world of dark deities (in some versions an alternative to the underworld) and a world of mortals. This felt appropriate because the album is quite diverse in sound and some might think parts of it sound happy, but the subject matter is almost always quite morbid, which creates a contrast that I enjoy.
“I was never very political and I always tried to keep my art within the realms of lore, literature and imagination. But when events like the ongoing Russian invasion of Ukraine happen, it is impossible – and I’d even say, unforgivable – to stay silent and do nothing. Thankfully being based in the UK I feel rather safe speaking out against the current regime and I do have a platform that I can use to try and show the world that Russians disagree with the actions of the Russian government, and there are so many of us that only wish for this to be over. I’m just trying to show it in the most artistic way I can muster.”
Now permanently based in the UK, Marjana has been an active campaigner against the Russian occupation in Ukraine and has raised thousands of pounds via her activities to support the victims of war. She will continue her work, including selling a number of a limited run of handwritten lyrics from Sirin, with the money going to Ukrainian charities. Acts punishable by 15 years imprisonment should she return home.
Marjana is joined by an array of world class musicians (detailed below), which includes two very special guest vocal performances from Jim Grey (Caligula’s Horse) and Mick Moss (Antimatter).
Marjana has previously collaborated with many incredible artists, including The Flower Kings, Jordan Rudess, Blackbriar,as well as Anna Murphy with their Maer project. Combined with her work in Iamthemorning, her experiences have enabled her to become one of the most unique and exciting solo artists in the progressive world today.
Recording musicians: Grigoriy Losenkov – piano, bass guitar, synths, drum programming Vlad Avy – electric guitar, synths, drum programming Keli Guðjónsson (Agent Fresco) – drums Charlie Cawood (Medieval baebes, Knifeworld) – acoustic guitar, bouzouki, glockenspiel, hammered dulcimer, luiqin, guzheng Liam McLaughlin (Sithu aye, IATM) – electric guitar Margarita Chernyshevskaya – 1st Violin Petr Chepelev – 2nd Violin Julia Uliashcenkova – Viola Julia Romashko – Cello
A small and enthusiastic audience of Cosmograf fans assembled one Sunday night in May ‘23 at The 1865, Southampton, UK to witness Robin Armstrong and his live band play a 2 hour show covering songs from the breadth of his music over the last 9 or so albums. There was no original intention for the gig to be recorded, but a decent soundboard stereo mix was made available after the show, that had captured something very interesting. Much of the set played that night, provided too much temptation not to share some of that experience with a much wider audience.
What it lacks in polished presentation, it more than makes up for in the performance and vibe of a live band in its raw, grass roots environment. Robin reviewed, edited, and mixed the audio within the limitations of the recording and gave it his blessing. For these reasons it’s an Official Bootleg!, and stands as an interesting waypoint in the history of Cosmograf.
“I had no intention at all of making any sort of live album for our recent shows, but listening back to the soundboard mix for this one, I was kind of surprised how good it sounded.” explains Robin Armstrong. ”Normally I’d be obsessed in fixing the mistakes and mixing it properly but there was just no way to do that with just a basic stereo track, so I thought it would be fun to release it in all its old school rawness..”
Anyone who knows me will know that I am a huge fan of Robin and his Cosmograf project so when he asked me if I’d be interested in reviewing this live release, it was an absolute no brainer! Robin’s deep, retrospective and very thoughtful songs, backed by his dynamic, powerful and intricate guitar playing is one of the best things you can hear in the progressive rock universe, add in a live, intimate setting with that rawness you get from the best live gigs and we could be on to something really rather special indeed.
Well, let’s cut to the chase, this ‘Official Bootleg’ goes straight in as one of the best live releases I have heard in recent years. Backed by some seriously impressive musicians, this is a collection of nine tracks that really showcase what is great about live music, progressive rock or not. It does help that the tracklist is a veritable ‘who’s who’ of my favourite Cosmograf tracks from British Made through to The Ghost Gets Made with perennial highlights including White Car, Arcade Machine and the track that got me into Cosmograf in the first place, The Man Left In Space.
This live album is just high point after high point with Robin’s superb songs animated in a live setting, check out the guitar solo on The Motorway for instance, one of many high class, stellar musical moments. Music can be for the mind or soul or, in this instance, for both, these songs have a life of their own, they are written from the heart and performed in much the same way, each musician heavily invested in what they are delivering to what sounds like a very enthusiastic audience. Kyle Fenton’s drums are hewn from granite, he is a powerhouse behind the kit and Alistair Martin delivers a quality foundation with his bass that the intense and intricate guitar of Lee Abraham then graces with pure class. Robin is the conductor in chief here, his passionate vocal, glorious keys and impeccable guitar completing this quartet of exemplary musicians.
It’s hard to pick favourites from a collection of songs that I love anyway, especially when they are all performed with an immediacy and soul that really resonates but, if you push me, British Made opens the album perfectly, the aforementioned Man Left In Space is beautifully haunting and wistful in its delivery, White Car is one of my favourite ever Cosmograf pieces and is performed impeccably here (just listen to that raw and incredibly potent guitar solo, utterly amazing) and the album closes with a powerfully emotive and definitive version of The Ghost Gets Made. The fact that all of these tracks are delivered in their raw, unpolished state is what makes this album such a gem.
A new Cosmograf studio album is on the way but, ever one to give back to his audience, Robin has sated the craving for new music by releasing what I am sure will become a seminal live album in the progressive rock scene. Close your eyes and you could almost be there, basking in the glorious music and that is what makes ‘Live At The 1865’ an essential purchase.
Out of Trondheim, in the cold shores of Norway, Vicinity have been crafting their mix of progressive metal, melodies and sophisticated rhythm patterns since 2006. Now reaching their third studio album, the five-piece has reached the perfect mix in their sound. ‘VIII’ is a mature progressive metal album, with a fresh approach to composition.
Putting new influences to work in their already highly rich melting pot of references, ‘VIII’ is a collection of progressive metal songs where the Norwegians drifted to a heavier, more concise sound than in the previous releases. The final result can please traditional prog fans of bands such as Threshold, as well as followers of newer acts such as Haken. Mixing duties in “VIII” were handled by Øyvind Voldmo Larsen (Seventh Wonder, Circus Maximus, Withem) and mastering was done at Fascination Street Studios by Tony Lindgren (Ihsahn, James LaBrie, Leprous, Opeth).
Vicinity was founded in 2006 by Kim-Marius H. Olsen, Frode Lillevold and Kristian Nergård. Vocalist Alexander K. Lykke soon joined the blend making the first complete lineup. With the EP ‘Diffusion of Innovation’, the band’s first official release, Vicinity found its true style, writing longer, more technical progressive compositions. In 2012 the band recorded their debut full-length album, ‘Awakening’, making this the debut recording of the new bass player Pierre Schmidt-Melbye, who joined the band following Nergård’s departure in 2009. Reidulf Wormdal joined the recording as a session keyboard player. The album was mixed by AndréAlvinzi and mastered by Jens Bogren at Fascination Street Studios, and was released by Indie Distribution and Pug-Nose Records in the fall 2013.
In 2015 Vicinity went to work with their new album ‘Recurrence’ which was released by Mighty Music in 2017. The drums were recorded at Skarp Studio, known for producing the drums for bands like Triosphere and Keep of Kalessin. Christer-André Cederberg, known for mixing ‘Nine’ and ‘Havoc’ for Circus Maximus and several releases by Anathema was enlisted to mix the album. Jens Bogren once again handled mastering duties. Following the release, Vicinity played concerts in Trondheim and Oslo, and was booked to play festivals like Prøvesprengning and Totsås Rock.
Preparations for the upcoming album started in 2020 at Skansen Lydstudio, but further progress was impaired partly by Covid and the fact that, after 15 years in the band, Lykke decided in 2022 to pursue other interests and in agreement with the band decided to part ways. Vicinity tried out vocalist Erling Malm (Articulus, Endolith) at a live show in Trondheim, and decided then and there that he would be the vocalist going forward, and he immediately started working on vocals for “VIII”, adding more diversity to the singing department of the band.
A rather impressive introduction from the PR company for the third full length Vicinity release and, having reviewed both ‘Awakening’ and ‘Recurrrence’, I feel I’m in a perfect place to critique this latest offering. In fact I’m really looking forward to it and, while disappointed that Alexander has chosen to step aside, I’m excited to hear what Erling brings to the mix!
I have to admit that, after quite a few listens, ‘VIII’ is becoming something of a standard in my listening rotation. While there is nothing radically different in it’s delivery of superb progressive metal, it is done so bloody damn good that I can’t help but get lost in the dynamic, hard edged music and its flawless delivery. Power, poise passion and soul emanate from this impressive release in spades, just check out DKE to hear musicians at the top of their game and having immense fun on an instrumental track that has hints of prime era Dream Theater in the bass, drums and guitar. In fact I almost thought I was hearing Glass Prison from DT’s ‘Six Degrees of Inner Turbulence’ at first, it’s that good.
I have spent a lot of time listening to traditional 70’s style prog and also a lot of jazz fusion music over the last couple of months and, though I love that sort of music, listening to this brilliantly produced release has been like a breath of fresh air to me aurally. Hard hitting but cleanly delivered music and, thanks to Erling, powerful and expressive vocals combine to create a sonic delight of epic proportions on tracks such as lengthy opener, the majestic Promised Paradise and the musical thrill ride that is Purpose, a song that is like a beacon of hope in the darkness but this electrifying album never lets up in its intensity, the pomp and power of The Singularity is another breathtaking highlight with its stirring delivery and intelligent songwriting. The beautiful, wistful wonder of Shape of Life gives an oasis of calm to the thrill seeking brilliance of the rest of the album and is as polished as any of the other tracks.
Perhaps the highlight of the album, but that’s like saying which of your kids you like the best, is the closing epic Face the Rain which leads you through a whole gamut of emotions and ebbs and flows perfectly. There’s heart and soul in every note of this rousing and riveting track and a primeval power striving to break out, drums hewn out of granite are the foundation but all the musicians are at the top of their game and Erling delivers his best vocal performance on the album, a song that just keeps on giving.
With the dynamic brilliance of ‘VIII’, Vicinity return triumphant with a prog-metal album for the ages. Impeccably performed and delivered, this is one release that should definitely be on your prog radar….
‘Keep Your Lane’ is an intriguing collaboration between David Jackson and René van Commenée. The two artists have known each other for many years, often collaborating on gigs. That friendship and their live performances led to the release of a live CD – ‘Batteries Included’ in 2003. Jackson also worked with René’s project ‘Mr Averell’. This new recording is the duo’s first studio album that began during the covid lockdown. In the course of reviewing some previously laid down musical pieces David Jackson began re-working arrangements and orchestration – developing new ideas.
When he shared some tracks with René the project brought together two formidable virtuosos. Commenée began adding new production ideas and new parts from his astonishing collection of instruments. That collaboration blends their individual talents into a soundscape of overlaying styles and tempos capturing jazz vibes rock and folk.
Together the duo has created a suite of complex arrangements and multi-tracking with Jackson’s trademark sax and flute interspersed with van Commenée’s percussion. It is a wonderfully diverse collection of tunes that definitely fall into the eclectic and esoteric end of progressive rock and jazz fusion. Take opener Eternal Caravans with it’s pulsating percussion and edgy spiralling brass that gives a North African feel to the music, it is at once gripping but also asks questions of the listener as it builds into a crescendo. Garden Shed continues to pique your interest with its clever, upbeat, jerky delivery, like a brass band jamming with a local jazz collective, it sounds like it shouldn’t work but it really does. I am a big fan of Bird’s Lament with it’s marching band ethos reworked into something dynamic, fluid and thoroughly entertaining and the moody, atmospheric majesty of single release Gateway.
Waving At Strangers continues this diverse musical journey with a sophisticated and refined air, Jackson’s charismatic and compelling sax a laser sharp focus. The intelligent and influential songwriting continues with the intense and cinematic Gridlockdown, a track that could be the soundtrack to a grittier version of Hawaii-5-O and the wonderful medieval pageantry ofHills of The North, another highly satisfying piece of music full of pomp and circumstance. To me, Get A Grip! is a marvellous homage to the crime noir movies of the 50’s, or at least it should be. A true modern classic of dark, edgy jazz fusion with a pronounced air of superiority and a very clever piece of music indeed! Koozokudooro is as quirky a track as its title would suggest, just under two minutes of intrigue and chicanery that puts a smile on my face.
A lively and esoteric jolt of wild escapism mixing time signatures, keys, distorted sounds and voice, Pinball Potter dances suggestively across your synapses and JackLanzCom Haiku sees Jackson’s skittish flute play counterpoint to the moody sax and van Commenée’s strident percussion to deliver a mildly violent musical slap in the face. The new instrumental recreation and orchestration of Pioneers over c, the Van der Graaf Generator (VdGG) classic track from the 1970’s album ‘H to He Who Am The Only One‘. Now titled Pioneers over c, 2023’ is a homage to that elusive track that has only ever been played live once. It features the virtuoso Colin Edwin on bass (Porcupine Tree). Coming in at over ten minutes long, it is a wonderfully evocative piece of music that invokes the heyday of experimental progressive rock in the 1970’s, just lose yourself in the moment and enjoy the awe-inspiring musical tapestry that is laid out in front of you. The album closes with Felona, an impish, wistful piece of music drawn from the ideas that Jackson, with Peter Hammill prepared for VdGG’s Italian friends Le Orme for their 1973 English version of Felona e Sorona, Jackson’s sessions were timed-out, but they were not forgotten and have been reworked especially for this album.
If you’re a fan of intricate music full of expression and inventiveness that showcases the best of jazz fusion and epic progressive rock then go no further, your search is over. A more eclectic album you will be lucky to find this year and I really enjoyed it.
