Leo Trimming Interviews Adrian Jones of Nine Stones Close for Progradar

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Leo:  Hi Adrian – it’s been a few months since the release of ‘Leaves’ on Bad Elephant Music.

What has been the reaction so far in terms of critical reaction and interest from fans?

Adrian: It’s been interesting. Critically we have received mostly positive reviews across the board, there seems to be an appreciation of what we are doing musically, as in not standing still. It would have been easy to have followed up ‘One Eye On The Sunrise’ with a similar sounding and style of album, but that’s not very interesting, is it?

I don’t write to formula, or sit down to write something in a specific style, I just write what comes naturally to me at the time and ‘Leaves’ is a statement of where my mind was when the songs were written. I know for sure we have lost some fans with this album, and a few have openly said in public and to myself that they really don’t like the change of singer, but that was out of my hands. Obviously those line-up changes have driven some of that – Aio (Adrian O’Shaughnessy) is a very different singer to Marc (Atkinson) and he brings something new to the sound. His range is fantastic, as you can hear on the album. On the flip side I also had messages from people saying that they really love the new singer and album. Overall, I think we lost some fans but maybe gained a few new ones along the way. For me writing and recording is about progression, development of yourself as a writer and artist, exploring new territories. I do think ‘Leaves’ is a natural progression of Nine Stones Close.

Leo:  What is the origin of the band name?

Adrian: It’s named after an ancient stone circle in Derbyshire, England near where I grew up. I visited the place earlier this year with my brother and my son, a kind of pilgrimage. It took us bloody hours to locate it. Google maps is no help at all ! We found it in the middle of a farmers’ field on Harthill moor. It’s a beautiful spot, very peaceful.

Leo:  Can you describe the creative song writing process for you and the band?

For instance, do the music or the lyrics come first?

Adrian: I generally start just noodling around on whatever guitar I happen to pick up and then see what flows musically. I never really learned to play anyone else’s songs, only the odd riff, phrase etc, so I start just messing around rather than playing anything specific. Usually an idea flows fairly quickly. I never had any guitar or music lessons so I don’t really follow any musical rules, which probably helps me be more creative. Sometimes it can be a guitar effect that triggers and idea, or a drum loop or beat. I also bought a GR55 guitar synth unit a couple of years ago for the ‘Jet Black Sea’ project and that helps me create ideas in new ways too. Once I have the idea I can run with it and usually write the whole thing on the fly very quickly, afterwards properly shaping it can take some time. I like to layer guitars with harmonic chords and lines, sometimes quite a lot of them, much to the annoyance of our producer (laughs). The track ‘Spoils’ had about 95 tracks, I think, when we came to mix it. I pretty much always write the lyrics at the end – it’s the hardest part for me. I tend to make notes, write down the odd line that comes into my head and then start to expand on the idea. The music inspires the lyric in a way as well.

Recently I have been working more with Christiaan (Bruin) during the writing sessions and it’s been great to be able to bounce ideas back and forth interactively with someone, but more often than not I write alone.

Leo:  You can certainly hear the multi-layering on ‘Spoils’ – it sounds so intricate, intriguing and wonderful – a real ‘grower’.

What do you prefer? Writing or recording?

Adrian: Writing. Definitely. Recording is fun too, but the initial creation of the song, is where the excitement really is for me –  that creation of something from nothing. I do think I am lucky in that I seem to be able to write every time I pick up a guitar. The ideas just seem to flow. There is a joke in the band that if they are late arriving for a session in the studio I will have written at least one more song before they arrive (laughs). Actually, thinking back, the song ‘Complicated’ happened exactly like that.

I also write the additional guitar parts on the fly and I am terrible at writing things down, so I often have no idea what I played afterwards. I am trying to get better at writing that stuff down as it does become a problem when you have to relearn something to play it again live or in rehearsal. Over 2 hours of material was written for ‘Leaves’, and at one point a double album was discussed. However,  what we put out was my vision of a cohesive album. A couple of songs were even dropped very late on after I decided that they didn’t fit, and I really don’t like long albums anyway. 40 odd minutes is still a good length for an album in my opinion, so we overstretched that yet again, probably because we had 4 years making it. My hard drive is full of unused ideas and almost finished recordings which may never see the light of day due to lack of time.

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Leo:  Is there an overarching theme to the album, and why is it called ‘Leaves’?

It seems clear you like to maintain some ambiguity in your lyrical ideas but a few clues as to the background of the songs may be interesting!

Adrian: It’s not a concept album, but there is definitely a theme.  It encompasses many things about modern life – what we are doing to the world we live in and to ourselves … and Lies of all kinds.

When I started writing the lyrics I was in quite a dark place, personally, for a number of reasons. I think we live in very dark times right now, but many people are totally oblivious, blinded by the mainstream bought and sold media, and so buried in iPhones, Netflix and other materialistic stuff that the world could be ending and they wouldn’t really notice. It’s a kind of enforced escapism, I guess.

In the end I decided to call the album ‘Leaves’ after the lyric I wrote for the title track. It’s a very ambiguous word and covers many of the themes that the album deals with.

You are right, I do like ambiguity, and I purposefully write lyrics in that way, I like the listener to be able to derive their own meaning from the songs. I remember in a review of the previous album someone mentioned that the song ‘The Distance’ was about the complete breakdown of a relationship … well, it is and isn’t, but you can certainly read it that way.

Leo:   I’ve been listening to this fascinating album again repeatedly recently and cannot help feeling how ‘dark’ much of it feels in tone, lyrical content and atmosphere.

Are the songs largely based on personal reflections of your personal experiences or feelings, or are they more detached manifestations of your imagination?

Adrian: A bit of both, I think. It’s definitely dark. As I mentioned, I was in a pretty dark place when writing much of this album. I am really happy with the overall atmosphere that we created musically. I think it has a very definite “feel”. Some of the lyrics were easier to write than others. ‘Complicated’, for instance, was very easy to write lyrically, it just flowed. It’s theme is the Lie we present to the outside world, and reflect back onto ourselves. If all of our thoughts were visible and openly accessible to everyone else, would we be able to cope with that?

Other songs, like ‘Spoils’, went through several lyric re-writes to try to avoid being too obvious, to create a mood without saying “This song is about blah blah blah”. See, I am not going to tell you what it is about even now (laughs).

Tone wise, the album is definitely heavier, more heavy guitar driven, than previous albums. That just happens to be how it turned out. There were some songs that we didn’t use which were too close to the feel we had on the ‘One Eye On The Sunrise’ album, and didn’t really fit where I wanted to go with ‘Leaves’.

Leo:  You really don’t want to give too much away about the lyrics, do you?!

Probably just as well – the listener can interpret and feel it in their own personal way – much more intriguing and engaging.

On this new album you ambiguously described epic song ‘Goldfish’ as:  about a new world sociopath and others might think it is about …. something else …’.

Any further clues as to what that actually may mean?!!

Adrian: No!!  One reviewer described it as being about “media brainwashing”, one said it was about the “short attention span of the internet generation”, another said it was about something completely different. Looks like my ambiguous lyric is working!

It was actually written from the perspective of a “new world sociopath” (whatever that is, I just made it up), but it does also have a deeper meaning.

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Leo: Antonio Seijas has done some wonderful artwork for Marillion and Gazpacho. How did you connect with him and why did you choose Antonio for the album artwork?

How does he come up with his artistic ideas in relation to your music – do you give him visual ideas upon which to work?

Adrian: I love working with Antonio, he did an amazing job for ‘One Eye On The Sunrise’ and the ‘Jet Black Sea’ project album. Antonio creates the art work based on the music and the lyrics and puts that into the concept. What he came up with for ‘Leaves’ is a perfect fit for the music and words –  it’s stunning. I connected with him initially via Frans Keylard, a good friend, when I was looking for artwork for ‘One Eye On The Sunrise’, obviously I was already aware of his artwork for other bands. I think he has a really unique style and he’s a lovely person too.

Leo:  That’s interesting, because it was through Frans Keylard that I first heard your music. He played your album ‘Traces’ on his old podcast ‘Rogues Gallery’ on the Dividing Line Broadcasting Network about 6 years ago, and I was immediately VERY interested in Nine Stones Close. ‘Traces’ is another wonderful album. I miss those podcasts from Frans, and he ALWAYS played at least one Marillion song on every show!

To bring things up to date, there have been some significant personnel changes in Nine Stones Close for this album. I expect fans will be particularly interested to know why former vocalist Marc Atkinson (of Riversea) is no longer involved, and why Brendan Eyre (also Riversea) is no longer on keyboards?

Adrian: Marc decided to leave the band after ‘One Eye On the Sunrise’ for his own personal reasons, there was nothing I could say to change his mind. Everything else is about commitments, timing, etc etc. Everything got a little twisted after ‘One Eye….’ I wanted to push on, get another album out within a year or so and I also started to line up potential live dates. That really didn’t fit with everyone else’s perspective and possible commitment, and it led to a fracture in the whole Nine Stones Close journey. I guess I can be blamed for being over ambitious and I also made a few mistakes there. Everyone else involved has other bands or projects as well, and families, jobs, etc etc, so it is difficult to align commitments to getting an album made, never mind a tour. I sincerely hope to create some new music with Brendan Eyre in the near future, time allowing, as I think we have a great mutual musical understanding. He has been working on some great stuff too with Tony Patterson, and there is another Riversea album in the pipeline. Everyone who worked on ‘Leaves’ will be involved in the next album.

Leo: Thanks for your openness. It really can’t be easy trying to pull these things together whilst everyone involved has other projects and ‘real lives’ in which to make a living and survive. I agree with you about Brendan Eyre’s work with Tony Patterson – their album ‘Northlands’ is genuinely outstanding. I am also greatly looking forward to the new Riversea album.

It’s good news that you’re working with the same line up that played on ‘Leaves’ for the new album as I’m fascinated where the Nine Stones Close journey will go next with such a talented band.

How did you find new band members and why did you choose them in particular?

Adrian: As I mentioned, it was a difficult time after ‘One Eye On The Sunrise’ came out. I was on a bit of a high  – I thought we had created a really great album and we had a chance to really take it to the next level, but it simply didn’t work out. Almost immediately after the release Marc left the band and I spent a long time looking for another singer, and that massively delayed the new album. We tried a couple of people, but it didn’t work. I wanted someone with a different voice, who could bring something unique and new to the band, to me there was no point playing safe and finding someone with a similar style to Marc. Aio came on board after being recommended to me and flying in for a session. We connected straight away and his voice brings a new edge to the sound and I think really fits the new songs perfectly. We recorded the vocal for ‘Complicated’ in the very first working session together. Christiaan I met through Pieter (van Hoorn), we had a rehearsal session in Arnhem and hit it off instantly. He is great to have around and is always full of enthusiasm and great ideas for music. Peter Groen came on board later when we were nearer the final recording stages of the album – he is also great to have around in the band.

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Leo: The excellent new album ‘Leaves’ seems to be a very clear change in tone / direction after ‘One Eye…’.

Was that related to the personnel changes and the different sounds / styles they bring to the band, or was that a clear change from your perspective as band leader?

Adrian: Great to hear you are enjoying the album. I never stand still musically. The three previous albums are all very different from each other too. Aio is an element of that new sound but the material was written before he came on board so the change in sound was already progressing. I am always moving forward, musically, and can guarantee the next album will be different again. Of course, the new singer brings a change to the band’s sound, as does any change of singer. It’s so up front and obvious, of course. Christiaan and Peter both bring their own sounds and approach to the music, and that too changes the overall sound of the band.

Leo:    Are there any plans / aspirations for playing as a live band, either on tour or at Prog festival events like ‘Summers End’?

Adrian: We would love to, hopefully someone will invite us to play!

The problem is the logistics of where everyone lives, available time, family commitments, work commitments and finances. So far it’s just not worked out for a combination of all those reasons. Hopefully in the future it will work out. We are currently working on a possibility for 2017, I hope that we can make it happen this time.

Leo: I really hope Nine Stone Close can make it to the live stage at some point.

Many artists ‘self release’ these days. How did your working relationship with David Elliott of Bad Elephant Music develop, leading to the release this  album?

Adrian: I started out with self-release myself with the ‘Lie Big’ album then ‘St Lo’ and ‘Traces’. We are still best friends with the local post office staff in Leiden! I had known David informally for a while though The Dividing Line Network. I also met with Matt Stevens a few times for a beer and he was always telling me how Bad Elephant were doing a great job for his band, The Fierce and The Dead. The real introduction though was via my mate Brendan Eyre who linked me up with David and Martin (Hutchinson) for a discussion about finding a home for the release of ‘Leaves’. Fortunately, after hearing the album, they were still interested (laughs). It’s been great to work with such an open, realistic, and enthusiastic label, long may it continue.

Leo:   They are certainly an eclectic and supportive label who seem to genuinely have the interests of the artists and the music at the heart of what they are doing.

Whom is your favourite / most influential guitarist/ musician, and what are the main artists that you feel have influenced you as a musician and song writer?

Adrian: It’s almost impossible to choose just one. I listen to a LOT of music. I think Jimmy Page has to be up there. Not just as a guitarist, but as a producer, writer, performer, guitar orchestrator, he was a complete package. Those Zeppelin albums still stand up today. Obviously, as a guitarist, I have been influenced by many other great players : David Gilmour, Steve Rothery, Andy Latimer from the progressive world, but equally Jerry Cantrell was a huge influence. Then there are Kim Thayil, Ty Tabor, Alex Lifeson, Tony Iommi, Trevor Rabin, Zappa, Adrian Belew; way too many to mention. In terms of artists, Talk Talk were a phenomenal band in terms of their progression and output, Pink Floyd, obviously, Led Zeppelin, Black Sabbath, Alice In Chains, Soundgarden, King’s X, Kate Bush, …. I could go on for ages.

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Leo: On ‘Leaves’ you skillfully used violinist, Annelise Rijk, and cello player, Ruben van Kruistrum on the great song ‘Lie’.

Are there any other particular artists with whom you would like to collaborate in future, possibly on your next album?

Adrian: Yes, they did a fantastic job on ‘Lie’. Christiaan also has to take the credit for the string arrangement on that part of the song. Katy Bell provided beautiful cello on the last album too, and Matt Stevens provided some crazy guitar work.

I think there are always other artists I would like to work and collaborate with. I am always open to offers to play on other artists’ material too. I love to do that – it’s a nice challenge which is very different to writing and performing on my own material. I recently provided some slide and lead guitar for the track “Kindest Eyes” on Tony Patterson’s latest album. That was a pleasure to do and it turned out great, I think. Hopefully there will be more  collaborations in the future. Anyone interested should feel free to contact me!

Leo:   Progressive or ‘Prog’ music fans can be remarkably conservative at times, which does sound contradictory to the concept of progression.

How would you describe Nine Stones Close as a band, and what is your view on how some fans may find it difficult dealing with changes in your band’s style and personnel over time?

Adrian: I have phrase I came up with recently, “progression has collateral damage, prog doesn’t”.

I do agree with you that some ‘Prog’ fans can be very conservative these days. For me ‘Prog’ is very different to ‘Progressive’ in meaning these days. ‘Prog’ is more of a style thing now, you know: “sounds like Genesis, Yes, King Crimson or Pink Floyd, must have widdly widdly bits, long songs and huge amounts of time changes”.

If you look at bands that have truly progressed, they have changed, lost fans, gained fans, always moved forward regardless of any fashion or commercial success. It’s fine for fans of our previous albums not to like what we are doing now. It’s perfectly natural. You see that music divides opinion like that. Some people for instance, refuse to listen to any post Peter Gabriel Genesis album, whereas I think they made their best albums after he left. Some people feel the same way with Marillion, for example. Music does polarise opinion. Personally, I want to move forward and not create the same thing over and over again just because some people might like it. There is no money to be made from doing this – it’s purely an artistic outlet, so what is there to lose? I might as well do whatever I want to do. I have no pressure to be an AC/DC type band, effectively churning out the same sounding album year after year. Where is the fun in that? If I am not enjoying making music and run out of ideas and things to say, then I will stop. Nine Stones Close music comes from my heart and soul, I pour everything into it, I hope that some of that comes across to the listener.

Leo:  A really interesting response – I particularly like the phrase “progression has collateral damage, prog doesn’t”I may nick that!

More seriously, it is very clear that you have poured your heart and soul in to the Nine Stones Close albums. They are not formulaic or repetitive, and certainly have engaged this listener.

I know you’ve only recently released ‘Leaves’ but are there any embryonic ideas to the direction of the next Nine Stones Close album, and possible timescales?

Adrian: Yes, actually, there is. I had some discussions with our producer about what I want to go for on the next album. It will be different again, especially in terms of overall sound and feel, I want to take it somewhere new again. It will be a challenge to do that, but hopefully what I have in my mind we can somehow get out onto a CD. Working with Paul van Zeeland (producer) is great, because he has such a deep understanding of sound and how to translate that into a recording and mix. I recently started writing and working on arrangement ideas with Christiaan and we have some great ideas on the go already. The plan is try to record the album somewhere in 2017, but that is all dependant the usual work, family, time commitments. It will definitely not take 4 years this time, if it does then it will never see the light of day! I can’t go through that again.

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Leo: One last silly question.

We’ve recently had the Olympics and Paralympics. If there was an Olympics for Music which 3 albums would you give Gold, Silver and Bronze medals and why?

Adrian: Oh, that’s a very difficult question for a throwaway last question (laughs). Music is always a very personal thing for the listener as well as the musician trying to convey something. I grew up in a house where there was always new music available. My father used to work as a sales rep for various record labels over the years and there were promo copies of albums and singles coming through the door pretty much on a daily basis as I was growing up in the 70’s and 80’s. I used to  play almost everything that came into the house and quickly learned about different styles and genres and also what spoke to me. I have a huge music collection at home, so choosing a top 3 would be impossible. If I had to choose 3 off the top of my head, like now, hmm.

Here are 3 that grew my love of music and made me the writer I am today …

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Led Zeppelin – ‘The Soundtrack From The Film The Song Remains The Same’

This is the reason I picked up a guitar. I went to see a re-showing of the movie shortly before my 16th birthday with some school friends. Despite my love of music I had never really thought about actually playing an instrument myself, and there wasn’t a lot of opportunity back in those days, we were not well off as a family. I remember just being totally blown away watching Zeppelin perform, and immediately after I got home I asked my parents for a guitar for my birthday. They scraped together some money from somewhere and managed to get me a starter classical guitar, not exactly the Les Paul I had in mind, but it was still amazing to have a guitar and it set me on my own musical journey. The version of No Quarter on this is fabulous, Jimmy’s solo is sublime. I know everyone thinks it is not a great representation of how amazing they were live, but I love it.

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Alice In Chains – ‘Dirt’

I still remember the day I bought this album. It’s left such a lasting impression on me. I was with a friend shopping for stuff in Bristol and went into one of my favourite record shops. It had just been released, and having heard the earlier stuff I was interested to see where they were going. To say it blew me away is an understatement. I remember getting home and cracking open some beers and putting it on the hifi.  About 8 hours later we were still listening on repeat and still drinking beer. The first listen was such a shock, we ended up sat in silence the whole album just taking it in. Jerry Cantrell is a massive influence for me, the way he plays, what he plays, how he writes, hugely underrated in my opinion. Layne had one of the best voices rock has ever known and his combination harmonies with Jerry were just sublime. If you listen to the album I made with my previous band Lie Big – “Severed”, you will hear how big an influence this band had on me. If you only try one track from ‘Dirt’ then listen to ‘Rain When I Die’. What an incredible and inventive song. Frankly there are no weak moments on the whole album, it’s a true classic and it still gets played regularly today.

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Talk Talk‘Spirit Of Eden’

I was always a Talk Talk fan from day one. I remember having the promo of their first single from my dad and thinking the singer was fantastic and that there was more to them than the single. In this case no one really know how much more. I can’t think off-hand of another band who progressed as far as they did over just 5 albums. The Colour Of Spring was an incredible album, but nothing prepared me for this one. I remember first hearing it and just not getting it, I was thinking “Where are the songs? What are they doing?”.

Over time it grew and grew with repeated plays until I became totally obsessed with it for a while. The production is amazing and they absolutely captured the mood of those sessions. This is easily in my top albums of all time and certainly in my most played. 28 years later and this is still regularly on the hifi. If you haven’t heard it then you definitely need to.

Leo:  I don’t know Alice in Chains or ‘Dirt’ so I’ll have to track that one down as you recommend it so highly. I remember seeing that Led Zeppelin film at the cinema and loving it – just one of THE great bands. Love your choice of ‘Spirit of Eden’ and had similar reactions to you when it came out – it’s ageless. Fascinating and varied choices – a real insight into your development and influences.

Thank you Adrian for taking the time to do this interview with Progradar – it’s been really interesting for me and I am grateful for your openness and the thought you have given your answers.

I hope your current excellent album ‘Leaves’ continues to receive the attention it deserves, and I wish you all the best for the next project.

‘Leaves’ was released on 13th may 2016 and can be bought from the Bad Elephant Music bandcamp site:

Nine Stones Close – Leaves

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(Leo Trimming)

Review – Riverside – Eye Of The Soundscape – by Kevin Thompson

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This was meant originally as a preview, but time and tide, as they say… By now many of you may already have this and be making your own minds up. So here is my review…..

Tragedy when it hits is never expected and the devastation, after initial shock, rushes out like waves and ripples flooding over all it touches. Seeping like damp into everyone’s hearts it leaves you cold and numb. Many bands have faced upsets in their lives, some have survived others not. Many losses are through age and/or self abuse taking it’s toll, but when you lose someone before their expected time, it hits hard. Over the last few years Riverside have become one of my favourite bands and watching them ‘live’ last year we got the feeling they were on the verge of breaking through to the next level and greater things.

But fate is a cruel mistress and I was surprised the sudden passing in February of guitarist Piotr Grudziński affected me so emotionally. Then going online to find the outpouring of sympathy from other fans and the support for the other band members, families and friends was overwhelming. Bassist/vocalist, Mariusz Duda then lost his Father in May and further personal issues have dogged him since. He, along with drummer Piotr Kozieradzki and keyboardist Michał Łapaj, could be forgiven for wanting to take some time away, but it is to their credit and the measure of the men that they have decided to continue as a trio and have started to make future plans as well as continuing solo projects in the wings.

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The band have already issued “Love, Fear and the Time Machine” in 5.1 and last Friday (21st October) they released the double disc instrumental “Eye Of The Soundscape”, a fitting homage to their  friend Piotr.

To misquote from Star Wars, ‘this may not be the Riverside you are looking for’. It is a collection of  ideas the band have composed and accumulated over a number of years, some of which have already appeared as bonus tracks with other albums. There are traces of the Riverside we know and love and the beautiful strains of Piotr’s guitar haunts the melodies, but this extensive work  has more in common with the likes of Tangerine Dream mixed with hints of Kraftwerk and Pink Floyd.

You may be accustomed to my reviewing album tracks on an individual basis, but in this case I feel the album works better if listened to as a whole. It will not be for everyone and with the best will in the world, you will find the direction and length of this formidable album (though the tracks on the second disc are generally shorter) tests you and it may be that only the hardcore Riverside fan will persevere and last the distance.

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The ambient mood and atmosphere of this album floats you down a dark river of keyboards and effects, the bass and drums causing the eddy and flow, with the guitar propelling “Eye Of The Soundscape” along a dreamy and immersive journey, some of which will engage you whilst other tracks will wash over you like liquid velvet. Jazz infused saxophone passages echo in the night-lit jungle as you drift along, the large bright moon of sound casting fleeting shadows of effects through the dense foliage of music.

 Piotr’s fluid (at times Gilmoresque) fretwork is quite sublime if understated in places, on what some may see as an album of pleasant enough background music, soporific or even uninteresting. Before the devout following tear me to pieces, I hasten to point out I do not fall into those categories as I am also a fan of Tangerine Dream and Pink Floyd and own many of their recordings in my collection along with other ambient classics and instrumentals.

 Some may only listen to “Eye Of The Soundscape” once and place the album on a shelf, leaving it to collect dust or brushing it off occasionally to attempt further understanding and convince themselves they do like it; you don’t have to. It will split opinion with it’s diversification but I feel  it stands as a fitting tribute from the band and on behalf of everyone Piotr’s presence touched, to a sadly missed and greatly loved friend.

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There have been better Riverside albums musically, but none more emotionally charged from a band who truly have remained as positive as possible in the face of adversity. Never losing touch with their fans, sharing visions and hopes and updating everyone with every tentative step along this personal journey, they humble us. The quality of the instrumentation from the band is also first class.

I would recommend you listen before buying to ensure it is for you and those with a taste for the more chilled side of music give it a try, even if Riverside’s previous output has not been to your taste. There is light through this dark tunnel which will see this band emerge to you either as a bright new butterfly or a dull coloured moth, I know which I will follow as it flutters over the musical landscape.

On this occasion it seems only fitting to leave the last words in this review to the band as a parting farewell to Piotr:

“This is our last journey together so we dedicate this album to you, Brother. In our hearts you will stay forever.”

Released 21st October 2016

Buy ‘Eye Of The Soundscape’ from InsideOut Music

Martin Turner Talks Wishbone Ash Tour

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Founder of the legendary Wishbone Ash, one of Britain’s most enduring and best loved melodic rock acts, Martin Turner takes to the road with his 19-date UK ‘Written in the Stars Tour’ during November/December 2016.   

 Vocalist & bassist Martin Turner, who was the main composer and creative force of Wishbone Ash, and his band, will perform tracks from his 2015 album release “Written in the Stars” as well as a selection of much-loved Wishbone Ash classics.  Formed in 1969 by Turner and Steve Upton, Wishbone Ash forged a unique musical identity that produced some of rock music’s best loved works, influenced numerous successful bands and resulted in millions of album sales.

 Martin says, “We had such a great reception from audiences at our recent “Written in the Stars” shows in the UK, Poland and Germany, we can’t wait to return to UK stages next months. I’m overwhelmed by the emotional connection audiences continue to make with the classic Wishbone Ash music which has been a backdrop to so many people’s lives – mine included. The material from the recent “Written in the Stars” album, which is in the same ballpark melodically and musically, has been very well received wherever we have played.”

Watch Martin chat about the tour here:

Tour dates are:-

Date                           Town                          Venue

 Nov 2nd, Wed             Bilston                       Robin 2

Nov 4th, Fri                 Bathgate                    Dreadnought Rock

Nov 5th, Sat                Aberdeen                  Krakatoa

Nov 6th, Sun              Carlisle                      Old Fire Station

Nov 10th , Thurs        Bristol                        The Tunnels

Nov 11th, Fri               Dartmouth                 The Flavel

Nov 12th, Sat             Great Torrington      Plough Arts Centre

Nov 13th, Sun            Penzance                  Acorn

Nov 16th, Weds         Worthing                    Pier

Nov 17th, Thurs         Dagenham               Roundhouse

 Date                           Town                          Venue

 Nov 18th, Fri               Deal                           Astor

Nov 19th Sat              Farncombe               Music Club

Nov 22nd, Tues         Bromsgrove              Artrix

Nov 24th, Thurs         Southport                  The Atkinson

Nov 25th, Fri               Grimsby                     Yardbirds

Nov 26th, Sat             Doncaster                 Leopard 

Dec 1st, Thurs           Twickenham             Eel Pie Club

Dec 3rd,  Sat              Porthcawl                  Planet Rockstock

Dec 10th, Sat            Leicester                   Y Theatre

Martin Turner also confirms his involvement in the compilation of “Wishbone Ash: The Vintage Years” – a definitive 32-disc CD boxed set spanning the period 1970 – 1991, scheduled for release by Snapper Music during 2017/18. This promises to be the deepest anthology of Wishbone Ash’s classic period to date and is being compiled with full co-operation and involvement of all key members of the definitive classic line-ups – Martin Turner, Steve Upton, Ted Turner, Andy Powell and Laurie Wisefield. The content will dig deep into the archives and already many live and studio multi-track masters have been uncovered, largely from Martin Turner’s personal archive.

 In Spring 2017, Martin will release a live DVD/CD recording from the “Written in the Stars” tour, filmed earlier in 2016 at the Citadel, St.Helens.

 

 

ADRENALINE MOB enter studio to record new album

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THE MOB IS BACK! The one and only ADRENALINE MOB have confirmed a brand new full length studio album will be released early 2017 via Century Media Records. Following 2015’s Dearly Departed, the forthcoming release is being recorded by ADRENALINE MOB guitarist Mike Orlando once again at his own Sonic Stomp Studio. Mike checked in with the following comment:
“Myself & Russell are hard at work finishing up the writing & are heading into the studio to track the new Adrenaline Mob album in a few weeks time. The album is coming out great & we’re both very excited on the sound & direction. We’re extremely thrilled to be releasing our 3rd studio album on Century Media Records! Our expected release time will be early 2017”
Since first bursting on to the scene in 2011, ADRENALINE MOB’s wild ride of hard rock and heavy metal melee continues to explode across the world. Still revving from two critically successful full lengths and standout EP’s; the gears are set for full throttle with an all new armory of lethal tracks. It’s undeniable, the beast that is AMOB is back! Stay tuned for more album details to be announced soon!
ADRENALINE MOB lineup:
Russell Allen – Vocals
Mike Orlando – Guitar
Erik Leonhardt – Bass
Jordan Cannata – Drums

ADRENALINE MOB discography:

Omerta – 2012
Coverta – 2013
Men Of Honor – 2014

Dearly Departed – 2015

ADRENALINE MOB online:

KATATONIA TO RELEASE 10TH ANNIVERSARY 4 DISC DELUXE EDITION OF ‘THE GREAT COLD DISTANCE’

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‘A winding trawl through myriad dark moods, at times supremely heavy, at others barely whispered, but always swathed in their own unique brand of somber atmospherics’ – 4/5 – Kerrang

‘Absolutely astonishing’ – 9/10 – Rock Sound

‘Make no mistake – this is a great album’ – Terrorizer

Hailed as one of the leaders of the death-doom genre alongside My Dying Bride & Paradise Lost, Sweden’s Katatonia have spent the last 25 years ever changing and evolving to become the much loved purveyors of dark progressive rock/metal we know today.

This year marks not only the band’s 25th anniversary but also 10 years since the release of their Peaceville album ‘The Great Cold Distance’.  Now the band is set to re-issue this classic album on special edition CD and vinyl. Founding guitarist Anders Nyström comments:

“Looking back at our set lists from a historic perspective, it dawned on us that there’s been no other album from which we played more songs than ’The Great Cold Distance’, so in the light of its 10th anniversary this year, it’s with much pride and joy to announce the ultimate edition featuring all the scattered bits and pieces related to this album. “

Originally released in 2006, The Great Cold Distance, Katatonia’s seventh studio albumwas recorded and mixed at Fascination Street, Örebro Sweden, produced by Nyström/Renkse on and co-produced, mixed & engineered by Jens Bogren & David Castillo. The album featured 3 singles, now classic Katatonia songs – “My Twin”, “July” and “Deliberation”. Vocalist Jonas Renkse, at the time of the album’s release stated“While embracing this album one must know that it will only help to increase the coldness between us. It’s a devious life. And this is a soundtrack to it.”

The new 4 disc deluxe hardback 40 page book edition of the album, to be released on 20th January 2017, will include 3 bonus discs featuring b-sides and bonus songs, a new 5.1 remix of the album by Bruce Soord (Wisdom Of Crowds) and a live album of Katatonia playing ‘The Great Cold Distance’ in its entirety with the renowned Plovdiv Philharmonic Orchestra in Bulgaria, performed in September 2016. The design of this essential 10th anniversary edition has once again been taken care of by long time collaborator Travis Smith.

The double gatefold LP version of the original album is set for release on 9th December, and includes the b-sides & bonus songs. Both the black vinyl and limited edition red vinyl versions are available to pre-order now:

PRE-ORDER LINKS:

4 disc deluxe hardback book: https://www.burningshed.com/store/peaceville/product/241/8087/

2 LP gatefold: https://www.burningshed.com/store/peaceville/product/241/8086/

Ltd edition 2 LP gatefold on red vinyl (available exclusively through the Peaceville webstore & Omerch) – https://www.burningshed.com/store/peaceville/product/241/8085/ / http://www.omerch.eu/shop/katatonia/

Friday 21st October, at London’s 02 Shepherds Bush Empire, Katatonia will play their biggest UK headline show to date which will feature a very special 2 set performance.

One set will see Katatonia perform ‘The Great Cold Distance’ in its entirety.

The other set will feature a wide selection of tracks panning the band’s 25 year including most recent album ‘The Fall Of Hearts’. Support comes from Agent Fresco & VOLA.

Tickets are on sale now – www.myticket.co.uk and www.seetickets.com

Katatonia are currently on tour in Europe with their Fallen Hearts Of Europe tour before heading to Australia for headline shows in December.

https://www.facebook.com/katatonia

www.katatonia.com

http://www.omerch.eu/shop/katatonia/

(Featured image by Therés Stephansdotter Björk)

Review – Fire Garden – Far and Near – by Progradar

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“I’ll keep evolving and put that into my songs.”
Alanis Morissette

One of the great pleasures of being a music journalist/reviewer is watching an artist mature from their initial early steps and through their growing career. You see how the raw musical talent becomes focused and more mature to give ever impressive musical releases.

One such artist, for me, is Chicago native Zee Baig and his musical project Fire Garden. From hearing 2012’s debut E.P. ‘The Prelude’ (where I initially became friends with this engaging musician) through 2014’s first full length release ‘Sound Of Majestic Colours’ to this latest album ‘Far and Near’, you can see the increasing skill and artistry, not only in the music but in the songwriting too.

Zee is the mastermind, songwriter, guitarist, lyricist and a founding member of Fire Garden. He is self-taught musician. His main influences are the music of late 60s and early 70s and bands like Dream Theater, Pink Floyd, King Crimson, Opeth, Porcupine Tree, Steven Wilson and classic bands like The Beatles, Led Zeppelin and many more.

Zee has called on the undoubted drumming skills of Jimmy Keegan (Spock’s Beard) on the new release, which also features Jordan Rudess’ keyboard wizardry and is mixed by Bruce Soord. The spectacular artwork is from the feverish mind of the legendary Travis Smith.

Frank Lucas (piano, keyboards, synths), Marc Malitz (bass) and Barry Kleiber (bass) make up the rest of Fire Garden and each adds their own considerable expertise to the melting pot.

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The album opens with title track Far and Near which is a haunting two minute instrumental that drips with pathos, feeling and intense emotion. Dominated by a sentimental piano note, it really strikes a chord with me, leaving me feeling slightly melancholy, but in a good way. There’s Something begins with a delightful strummed guitar before the drums become the driving force. Zee’s vocals lull you into a state of grace with their lush tone before the riff gets a little heavier and the song takes on a more serious feel. The chorus has a great hook and you just seem to be carried along on the wave of sentiment that the track engenders. There’s a slight interlude in the middle of the song, an ominous feeling that we are working up to something as everything slows down to a meditative pace. It’s a laconic and laid back, if intricate, build up to a slow burning guitar solo that hits you in the solar plexus and holds you in place while stripping your soul bare. A nicely judged and intelligent song that shows just how far Zee has come as a songwriter. A thunderously powerful riff is the opening to A New Day, a song that has the feeling of U2 but as if it was played by Metallica, the imperative verse drives on with the urgent vocals and dynamic drums. There’s a mesmerising feel to the heavy riffing and eerie organ note that adds to the wall of sound that is being generated. The slow build to the solo really sets you on edge and then Zee’s coruscating guitar really burns bright. A really compelling and forceful track that holds your attention to the explosive end.

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Now to my favourite song on an album of great tracks, Life of a Drifter is a whimsical and nostalgic song that brings out feelings of hope and regret deep from your soul. The laid back chorus is gentle and touching breaking into a softly sung but heartfelt chorus. There is a sense of not wanting to look back at a sepia tinged past so that some sort of pain or less can remain hidden. Don’t look back, just focus on tomorrow, it really touched a nerve with me and I am moved every time I listen to it. The serenity is broken by clashing drums, guitar and keyboard, a maelstrom that leaves you breathless with its ferocity before a more focused and powerful rendition of the chorus is sung. This is all leading up to an absolute monster of a keyboard outro by the legendary Jordan Rudess, given free rein to let loose his mind-bending virtuosity. Turst me, you’ll be left slack jawed by the brilliance! The slow brooding A Thousand Lost Souls is a superb instrumental that seems to just be boiling under the surface, leaving the tension readily apparent. I love the way it makes the hairs on your arms stand up with its intensity and focus. Once you’ve heard the first note, you daren’t turn it off, it is like it is talking to you in a mystical musical code. War and Peace is a darkly powerful prog-metal track that feels like it has clawed its way up from the bowels of the earth, elemental and alive. The repeated, singular, words, are delivered in a menacing chant before the industrial riff and deliciously evil guitar threaten to take over your mind, leaving you a slave to the rhythm.

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Faint Shadows follows that seriously heavy prog-metal direction with a riff that could topple mountains, primordial and destructive. There’s a feeling of barely controlled chaos that is bubbling under the surface before the ever more potent drumming of Jimmy Keegan breaks free. The vocals begin, almost shamen-like in their delivery, as if they are speaking an incantation and one that draws you in close. You know that something is lurking in the shadows but know not if it is of the darkness or the light, however, you have to follow your instinct and find out. It is a really vivid and dominant song that brooks no argument. Heartfelt, sombre and slightly mournful, the opening notes to Whitelight just leave your heart in your mouth. This is a passionate plea of a song that seems to linger in your subconscious. Zee’s vocals are wistful and dreamlike and you just find yourself left in a trance, able neither to move forwards or back, your attention on every word that you hear. The delicate guitar and keyboards just add to the atmosphere, a song powerful in its contemplation. The mood is broken by a dark-edged riff and frenzied drumbeat before a hypnotic piano brings a feeling of tension and the close of the song. At nearly eleven minutes, Diary Of The Blood Moon is the lengthiest track on the album and hits you straight away as being the most progressive of the songs too with an intricate play off between the drums, guitar and keys. Driven along by Jimmy’s expansive style and Zee’s brooding guitar it is a hectic ride for the uninitiated. Interspersed with interludes of calm and reflection, it is an intense crucible of musical majesty that bestrides this album like a colossal behemoth. The last two minutes raise the bar even higher with a build up of momentum that intensifies with a fiery guitar solo and dominant rhythm section to just leaves you open mouthed in admiration.

So Zee and Fire Garden have raised the bar even higher with this latest release. ‘Far and Near’ is a magnificent album that never loses focus or intensity and, while it is great to see Jordan Rudess and Jimmy Keegan giving their considerable talents to this enterprise, it is very much the product of Zee Baig and Fire Garden’s consummate skill set. Trust me, as an all consuming listen from beginning to end, this is a definite must buy for your music collection.

Released 21st October 2016

Buy ‘Far and Near’ direct from Fire Garden

 

 

 

 

Debut Self-Titled LP by heavy prog-trio Chickn, Inner Ear Records, Greece

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Greek Dionysian band Chickn recently released their self-titled debut album, on October 10th via Inner Ear Records. Chickn is a modular music band formed during the Christmas holidays of 2012 in Athens. Bringing together an assemblage of musicians whose primary work has been influenced by Eastern Mediterranean music, psychedelic and progressive rock.

Angelos Krallis (vocals, guitars, lute, tsambouna, udu) grew up in Kos island, a Greek paradise close to the Anatolian coast of Turkey and hooked up with “rembetiko” musicians. Evangelos Aslanides (drums, percussion, djembe, darbuka, bendir) and Pantelis Karasevdas (drums, percussion, congas, djembe) both hail from Exarchia, the music scene of Athens. The  main  pillars  of  Chickn’s  music  is  improvisation,  as well  as  their  tendency  to  embrace  the unexpected. They  have  developed  a  large  body  of  artists that  they  work  with  and  as  a  result their liquid line-up gets temporarily solidified by their current expressive needs.

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This is a radio zapping 68-minute car drive. This is a field unfolding in front of your very eyes and at the same time a call of wandering. This is an attempt of these unique musicians to invent themselves through playing. This is Jetztzeit rock. A sound conceived as a jump in the free sky of history.

The album was composed by the Athens-based trio in Athens and Valencia during the period 2014-2015. It was recorded from July to October 2015 in Sonic Playground Studio and in Iraklis Vlachakis’ home in Athens. The album was produced by Chickn and Nikos Triantafyllou and it was mastered by Alan Douches in West West Side Studios in New York.

Musicians appearing on this album:
Konstantinos Protopappas (electric guitar), Haris Neilas (darbuka, congas, cowbell), Andreas Kiltsiksis (oud, amanes) and the band Baby Guru (Sir Kosmiche (bass), Prins Obi (additional synths, additional vocals) and King Elephant (saxophone)).

Tracklist:

1. Chickn Tribe

2. Omens

3. Aleppo – Jam

4. Modular Prayer
5. Taqsim – Rhy – Tavk Hava
6. Forget – Small Things
7. Articulation
8. Modular Prayer (Reprise)
9. Prelude On Mary
10. Shifting Time Blues – Akhedia

 

 

Review – OPERATION:MINDCRIME – Resurrection – by Kevin Thompson

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I came across Queensryche whilst serving alongside the U.S. Forces among others in The Netherlands, where I bought the ‘Operation : Livecrime’ box set from the PX. The video was an excellent concept and I enjoyed it so much that when my video player died I bought it on DVD. I bought their back catalogue and traced the progression in their sound and Geoff Tate’s voice. I then bought ‘Empire’ which for me was the pinnacle of their recordings.

None of the others since have been particularly bad, ‘American Soldier’ being worthy of note but they never seemed to match either ‘Mindcrime’ or ‘Empire’. Then came the acrimonious split and albums from both parties. Traces from both of old successes but again nothing outstanding. I stopped at ‘Kings & Thieves’ and didn’t buy ‘Frequency Unknown’ or ‘The Key’ from Geoff’s new band Operation: Mindcrime , which was part one of a trilogy and quite badly mauled by the press.

So when I was asked to review this, the second of the three part story, I wasn’t sure what to expect. The old logo is cleverly reworked into the cover design which looks like a panel from the page of a graphic novel, a good start, but what is the concept? Who better than the man himself Mr Geoff Tate to explain, “It continues the story that began on the first album ‘The Key’ with the near death experience of the lead character known as ‘H‘ and his subsequent recovery of the missing encryption key. With the Key finally in his possession, ‘H‘ has everything he needs to finally launch his long awaited project called ‘The New Reality’. Or does he…”

Time to see if Mr Tate has everything he needs to resurrect my interest……

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Intriguing sound effects, introduce the short, opening instrumental piece and title track ‘Resurrection’, which then slides into track two, ‘When All Fades Away’, a heavier more majestic piece of instrumentation which seems to imply the beginning of, or preparation for, a journey in it’s tone. Seguing into the thirty second track ‘A Moment In Time’, where Geoff Tate’s vocals make a brief introduction before we find ourselves ‘Through The Noize’, on the next track. Whilst Tate’s distorted vocals (similar to those used on previous recordings) are meant to impart a certain atmosphere, for some reason they seem to ‘muddy’ the sound on this recording and I have to really listen to understand the lyrics.

Whilst not classic Geoff Tate he appears to be moving forward has gathered a worthy band of musicians/vocalists to ably assist him so he’s not ‘Left For Dead’ yet, as this fifth track leans toward the ‘Queensryche’ trademark sound with memorable chorus. The lyrics indicate a fighting spirit, knocked down but undeterred he will rise and push on as he leads out with ‘It’s all I know….’

Most of the lyrics seem autobiographical and can be listened to as a continuation of Tate’s dislike for corporate/political improbity and corruption bought from excesses of wealth. Yet at the same time it could be viewed as a personal reflection of the last four years, since the acrimonious split from his former band mates in most unsavoury fashion have at times left him feeling ‘Miles Away’. The tracks seem to grow in stature along with Tate’s confidence and the selected performers are allowed to show their various talents, flourishing guitar solos and the drums in particular standing out here.

‘Do you think he knows?’ a question Tate feels ready to answer as he sings Healing My Wounds’, and brandishes his trusty sax solo on this album for this first time, (an instrument he under-uses in my opinion), which brings a different flavour to the sound and soaring guitar adds to the orchestration creating an epic feel. ‘I think he knows’.

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The laid-back retro-‘ryche delivery on the eighth track belie ‘The Fight’ the man has been waging on all fronts. Acoustic finger picking intro and Geoff’s beginning to feel less reason to look backwards and a growing recognition he’s able to not only stand on his own terms but also that he’s free to explore avenues that may not have been possible within the band collective. He seems comfortable with this song, like a familiar snug blanket and let’s hope Tate’s not shy of using the old sound mixed in with new ideas to progress himself.

Tate may have had the impression at times that he’s ‘Taking On The World’, but he seems to be coming out on top with the best track on this album unashamedly channelling his inner ‘ryche, which echoes staple tracks like ‘I Don’t Believe in Love’. Whilst the voice is used a little more economically these days as age does it’s duty on the vocal chords, he is still on fine form and sounds as if he’s really enjoying himself for the first time in a while and finding his path forward. Again the musicianship as on all the tracks is excellent. I particularly like the introductions on each track as they add to the atmosphere.

I’m not sure Tate feels ‘Invincible’, but with his confidence asseveration on each track, number ten sees him facing off against his demons sensing he holds the key to his resurrection and growing stronger with each breath.

The heavier, bluesier ‘Smear Campaign’ wears it’s heart on it’s sleeve and the thin veneer of the concept fails to fully cover the most blatant of all the tracks to raise the bitter taste in the musical throat, on the thorny subject of the last four years. With cries of  ‘What’s the point, easy target’ and ‘People will either love you, or hate you’ among the lyrics it’s not a giant leap to see the real pain. Yet with shifting time-scales and changes in tempo it also showcases once again, the excellent musicians he has surrounded himself with and teases us with a brief but delicious slice of Geoff on sax and building into a dramatic finish.

As in any conflict you find at some stage you will be asked ‘Which Side Your On’, (it’s the way it was spelled on the review copy I was sent) as Tate appeals to anyone listening and rallies support for his cause. Unfortunately this seems to lose cohesion, sounding  more indistinct. For me this could have been left off the album as it offers nothing and causes the album to stumble a little and lose it’s way.

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The penultimate track offers Tate ‘Into The Hands Of The World’, and is probably the riskiest track on the album as it juggles genre, mixing brass with heavy guitar riffs and twiddly keyboards along the way and whilst once again it doesn’t hold a consistent earworm of a tune it is more palatable than it’s predecessor and leads us to the grandiose platform for the last track.

 Tate addresses you ‘Live From My Machine’, recovering the album and finishing in majestically, relaxed style. ‘It’s always a challenge, facing the challenge’, he sings in acknowledgement of what he has achieved on this album.

It may not reach the dizzy peaks of past triumphs but ‘Resurrection, sees Geoff Tate climbing in the right direction and with conviction to greater heights and building empires.

(I can only hope the sound quality is better on the actual release.)

Released 23rd September 2016

Buy ‘Resurrection’ on CD from Amazon

 

Review – FVNERALS – Wounds – by Emma Roebuck

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Glasgow Based FVNERALS’ Tiffany, Syd and Chris sit in that dark world of Doom, Ambient, post rock, shoe Gazing alternative music. There is nothing, and I mean nothing, upbeat about the music this trio produce. No, that’s not insulting, it’s just a fact about the music they produce. This is their fourth release and they have been around since about 2012.

The name evokes an image and the music reflects that right back in the mirror.  If can imagine the Cocteau Twins meeting Trent Reznor and then having a session with the Tangerine Dream (circa Zeit) then you have some idea of what to expect.

The sound is huge but full of space for Tiffany’s voice to swim in the soundscapes, more as a complimentary instrument than a vocalist putting lyrics over a song. This is Goth/industrial in the great tradition, following its predecessors and then leading the way to a different feeling. Their contemporaries, the likes of True Widow, Chelsea Wolfe and, to a lesser degree, Sigur Ros are ploughing the industrial furrow in an interesting way and getting an audience for it.

It is pointless doing a track by track description as this is an album that generates a feeling rather than songs which I would normally avoid except that we must never restrict ourselves to one path for we may miss much that is rewarding.

I will talk about Crown, the slow grinding guitar reminiscent of Tony Iommi on the first Black Sabbath album but without the release of any of the tension that builds from the beginning to the last 2 minutes, when it is replaced by a plaintiff keyboard and acoustic guitar sound. It lets you free long enough for a breather then goes straight into the next track Antlers. This is a lesson in guitar distortion and the use of Tiffany’s voice to provide a theme into an ambient openness drifting along on the current of the music. The closer Where is the most Spartan of all the tracks and it has a deep sense of loss and dread from beginning to end,  I would draw a connection to early Anathema here, if anyone needs a link.

To sum up really this is not even close to mainstream and it’s progressive music in that its seeks to find a place of its own that is as far from the 4/4 3 minute pop song of the “X factor” as you could possibly get. It has an atmosphere that is at the same time chilling and terrifying yet has a sense of comfort at the core.

None of the music is fast paced banging or hectic, it has a consistent rhythm to it.  If want something that is away from the mainstream and has a sense of ambient darkness then this is the one you want.

Released 14th October 2016.

Buy ‘Wounds’ from bandcamp.

 

Review – The Far Meadow – Given The Impossible – by Gary Morley

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A challenge from the wallet emptier…

I’m to listen to a new release on Naughty Pachyderm’s imprint, write a review and post it off all before David “The Progmeister” Elliot realises I’ve been listening through the keyhole of his prog vault.

So I sneaked into Elephant HQ, snuck under the wallet emptier’s detection wet string and tin can alarm system, negotiated Tom Slatter’s tentacle armour, carelessly strewn about the floor. Through a door located beneath the might piles of CD’s awaiting re-homing, I step into a bright and sunny place, the Far Meadows.

And that folks is where our story really begins.

The press release for The Far Meadow’s ‘Given The Impossible’ helpfully tells me that the members of this band were in other bands before. The band claim to enjoy leek knotting, Icicle archery and banana pushing. I may have snatched a look at the unfinished article as banana pushing? Seems a bit farfetched to this progboy, but I’m here to listen to the noise they make, not comment on what they do when not making noise.

So , The Far Meadow – First impressions are that it’s a refined, gentle place where musicians meet to construct songs with verses and choruses, middles, beginnings and ends. They construct them in the traditional manner, with some lovely keyboard, flute and guitar flourishes between them.

The singer has a very pure soprano voice, all crystal and fine wine, whereas I’m more partial to an earthy red wine in an odd glass voice. But this voice is all pure elven tones,  a departure from my preferred dwarvish blues gravel throat singers that have lived a full life . If you play the “sound like” game, then it’s more Juliette Reagan than Marianne Faithfull, more Christina Booth than Beth Hart. But it works.

Marguerita Alexandrou has a nice tone, a clear and unfaltering delivery and an interesting quality to her inflection that gives extra character to the material. The high notes are dealt with in her stride without any of that ghastly X factor wobble that seems to be used to stretch every utterance into a poly syllabic outburst.

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Here we have a singer in tune, on the beat and singing that compliments the band behind her. That’s another good thing. The album sounds like the entire band were involved with the final mix.

As the Elephant team were  kind enough to supply lyrics, I can finally do a proper grown up review and tell you that on this album, you learn about Wedding day nerves, Cracking the Enigma code, the facile nature of ambition, overcoming fear, a warning that technology cannot replace real engineers and more. OR I’ve misread the whole pile and it is actually a concept album about pan dimensional celestial flying nymphs… again.

So, modern themes for a modern Prog band to sing about. And they do sing. And they play. And they harmonise. And put in excellent little instrumental flourishes.

The songs sound like they are fully formed, not a collection of ideas and clever twiddly bits bolted together. As with all bands, the tipping point for me is would I enjoy them live?

The answer to this is YES.

I want to hear the dynamic shift and synth solo in the middle of Dinosaurs performed through a concert P.A. The Guitar solo after it will be a foot on monitor moment, adulation from the crowd driving the guitarist on through the solo. The keyboard and guitar parts are crying out for dry ice, big lights and a frenzied crowd…

Himalaya Flashmob cracks on , a rocky little ensemble after the Prog work out in Dinosaurs.

Lots of angular guitar riffs and angst filled vocals to start off, this is “The Epic” on the CD, a treatise on the vapid rewards of overachievement, A thoroughly modern disease, the overachiever’s bucket list route to enlightenment.

The track blasts off into It Bites land with some more great keyboard: guitar interplay before breaking through the clouds to a peaceful single guitar then instruments and ethereal voices paint the picture of the climbing of a mountain.

The protagonist seeks fulfilment through overachievement, joins the queue for the top, gets a wake up shot as finally they realise just how small they are, ego or no ego.

Do they learn from this? See the error of their ways and return a better person? The story is left at the point of enlightenment for us to decide. Not a cliff hanger, although, stuck at the top of a mountain struck by a sense of your own insignificance could be said to be the ultimate cliff hanger!

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There is some great instrumental prowess here, but no sense of grandstanding. The music flows around you as you drift off in an enlightened cloud of Prog bliss. The final track, The Seamless Shirt starts all rock guitar and thundering drums, with a Zappa / Miles Davis Electric band vibe, the drumming is metallic rather than metal, then suddenly switches to a folk staple, not the first time this particular song has been shoehorned into an alien landscape .

The Stone Roses co-opted it on their debut album. Some pair of American folk singers adopted it too, back in the pre- streaming era.

Scarborough Fair gets dragged into the middle of this song, twisted to fit the narrative, we then flip back to the funky percussive tale of broken trust and dashed hope. a relationship in the making and unmaking of the shirt.

Again we get a guitar solo, this time , as I mentioned Frank, this references Steve Vai, with a lovely lyrical solo, the final instrumental section is a beautiful piano and drum piece, very Herbie Hancock in tone that stretches and bridges to the final verse.

Then, all too soon it’s over. 45 minutes of musical delights that is more progressive, more dextrous and more interesting than I deserved. Another fine wallet emptying collection for the ever expanding Bad Elephant stable.  I really need to negotiate a discount as this reviewing is getting expensive.

I know  I am lucky to get he pre-release mp3, but nothing beats the delight of owning the actual finished product. Be it vinyl or CD, it’s a thing of solidity in a fluid world.

‘Given The Impossible’ is that too, and like a good curry , it matures with time. I’ve listened constantly now for 4 or 5 plays. There are nuances and passages of beauty that my ears are enjoying navigating along. The more I listen the more it connects in my head to It Bites and Francis Dunnery’s lyrical guitar parts .

The naughty pachyderm has done it again, an excellent release.

Released 4th November 2016

Buy ‘Given The Impossible’ from Bad Elephant Music on bandcamp