Fresh from opening for Myrkur over the past week, as well as joining her on stage in her Folkesange project, internationally acclaimed composer and virtuoso cellist Jo Quail has been added to the UK leg of the upcoming Amenra and Boris European tour. Jo comments:
“Supporting Amenra and Boris on the UK leg of their co-headline EU tour – WOW! I cannot wait! It is a true privilege to play these concerts. I’m a soloist, and I perform my music that sits somewhere between contemporary classical, post-rock, avant garde and experimental. It is an honour to be invited to open the stage for two genre-defying bands who are masters of their craft, who have been and continue to be revolutionary in their individual approach to composition, performance and musical ethos and who reach in to the depths of being both spiritually and sonically.
I recently performed with Danish goddess Myrkur on her Folkesange tour, supporting and also joining her ensemble for 4 songs. It was fascinating to step in to her world and to have an opportunity to work with her and the ensemble in realising both the traditional folk songs and her own compositions too. I felt very lucky to receive such a warm response from her audience.”
On this tour Jo will be playing some pieces from her forthcoming 4th album (released later this year) and adds, “I’m looking forward to seeing how these develop during this tour. I find that only when I take a composition on stage do I fully begin to know and understand it; it morphs, develops, and reveals itself with each performance and my audience is as much a part of the writing process as I am. I’ll be recording this album with Chris Fielding at Skyhammer Studios (Electric Wizard, Primordial, Conan) in March, Chris is an outstanding producer and I think we’re going to have a lot of fun making this record!”
Since starting to play solo in 2010, Jo has released three albums, three EPs and a live DVD and toured across the world with the likes of Caspian.
MARILLION have added 3 NEW DATES to their almost sold-out tour in April 2018.
Tickets for the shows in Belfast, Dublin and York go on sale on Friday, 26th January and fans of the prog giants should grab these tickets fast, as Marillion’s recent show at The Royal Albert Hall, sold out in just four minutes.
After nearly 40 years, Marillion have evolved into a vibrant and international musical force, flourishing seemingly outside of fashion and mainstream media exposure. And they are still as popular as ever – their most recent album, F E A R (Fuck Everyone and Run), peaked at No. 4 in the UK album charts and No. 1 in the rock chart last year and was given a 5-star review by The Guardian.
Steve Hogarth says: “I have been part of this band now for 27 years yet we’re as inspired as we ever were and still enjoying creating together. Luckily our music has remained free to evolve and change without the constraints of a corporate music business which otherwise might have killed us!. He continues, We’re really looking forward to this little outing, especially as we’re playing a few places we haven’t visited for a while. It’s long overdue!
FULL 2018 Tour Dates as follows:-
Sun 8th April Belfast Ulster Hall NEW DATE
Mon 9th April Dublin Vicar Street NEW DATE
Wed 11th April Gateshead The Sage last few tickets available
Fri 13th April Cambridge Corn Exchange SOLD-OUT
Sat 14th April Birmingham Symphony Hall SOLD-OUT
Mon 16th April Brighton Dome last few tickets available
Tue 17th April Bristol Colston Hall SOLD-OUT
Thu 19th April Reading Hexagon SOLD-OUT
Fri 20th April Liverpool Philharmonic Hall SOLD-OUT
Sun 22nd April York Barbican NEW DATE
Tickets available from myticket.co.uk, seetickets.com & venue box offices.
“Without music to decorate it, time is just a bunch of boring production deadlines or dates by which bills must be paid.”
― Frank Zappa, Real Frank Zappa Book
I think Mr Zappa hits the nail very much on the head with that quote, life can become very monotonous without something to lift it and that something, for a lot of people, is music.
Now it’s well known that I’m not a fan of the repetitive modern music that makes up the charts nowadays but, if that is what people listen to to make the drudgery of modern life better then who am I to tell them what to listen to?
For me, and many others, it is the well crafted song, the collection of perfect notes that resonate with me and put a smile on my face or help me get through difficult times in my life.
I was introduced to Canadian band Sills & Smith, a project of singer/songwriters Jeremy Sills and Frank Smith, a couple of years ago by their previous release ‘Echoes in Time’ and was immediately hooked. Since thenFrank has kept me updated on the progress of their sixth album ‘Maps – Burned or Lost’ which was released on the first day of the new year.
Recorded by famed producer Phillip Victor Bova, it is described as ‘an epic musical journey, with 14 songs and close to 70 minutes of music that careens between pastoral folk, to trippy rock to progressive rock.’
‘Maps – Burned or Lost’ sees Jeremy and Frank take the next step in their musical evolution and this new collection of 14 delightfully involving songs takes you on a wonderfully engaging musical journey. There’s the slow burning quality of album opener On The Edge, quite an indictment of the world we live in with its scathing, pithy lyrics and edgy guitar work, the solo just drips scorn and disdain. Frank’s deep and distinctive vocal is as good as ever on this clever track, a superb start to proceedings. There’s a melancholy grace to Kings with its deliberate opening and Frank’s sombre vocal delivery. A song with perhaps a lofty self-important tone, a nostalgic take on days gone by, Jeremy’s lighter vocal is a well judged contrast and the music is just sublime. Frank and Jeremy have surrounded themselves with a stellar cast of musicians that lend the whole album an air of class and sophistication. A Freight Train is a mournful bluesy feeling piece of music, slow burning, calculated and thoughtful with a moody hammond organ providing a layer of gravitas and solemnity. There’s a soulful core to the music and the vocals that seem to bleed a touch of despair and despondency, a properly moving song.
A wonderful song from start to finish, the wistful folk feel to Maps gives it a timeless grace from the humble vocals to the superb unpretentious chorus. This is music written so that every note, every word has its place and is as important as any other, it is storytelling of the highest calibre and it moves me on a most personal level. That carefree, easygoing atmosphere seeps into Waves, a song where the introduction just seems to take you to a place of warmth and love. The chorus is as light as a feather, the music has a charm and grace that leaves you spellbound. Frank’s contemplative vocal opens No Measuring, a thoughtful song with a plaintive, slightly sad feel to it. There’s almost a hushed aura to the music with the elegant piano and the toned down drums. Contemplative and pensive with a flighty flute playing, it leaves me in an introspective frame of mind.
The elegant mandolin that opens Take Care joins with Jeremy’s vocal to give a feel of fragility and beauty and the harmony with Frank adds even more intangible charm. A pared back and willfully sparse song that implores you to take care of yourself with a rarefied dignity. A proper country feel pervades the opening of The Offer and Frank even has a touch of Johnny Cash to his voice, deep and meaningful, it’s a great counterpoint tot he lightness and elegance of the chorus and the slow steady pace of the track lulls you into a place of calm and reflection. Now onto possibly the most upbeat and funky song on the album, there’s a feelgood atmosphere to Grave Fascinationwith its edgy guitar and offbeat drums that really gives you a lift. Nothing flashy or garish, just a great song that is delivered with confidence and bravado and has you tapping your feet and nodding your head in unison with the beat.
The excellent singer/songwriter vibe returns on Wash Away, Frank’s voice leading the contrite, almost regretful song with the music underpinning the song in a respectful manner. Again, the pared back quality adds to the track, especially on the great guitar work. Alternative and indie in its delivery, Miss Us is a song with an acerbic edge, especially on the biting lyrics. I love the tightly performed guitar solo and the rhythm section that runs throughout the track. This song is a real release of pent up energy with its almost punky, staccato emphasis and it works brilliantly. Mercy begins with a dreamlike atmosphere touched with a feel of melancholy, especially when Frank’s vocal begins. There’s a forlorn mood that settles on the song, a pensive and sombre mood that never breaks right to the close.
Window Through Her Mind is another example of the songwriting skills of Frank and Jeremy. The wonderfully ethereal music is paired with superb vocals again telling a story of nostalgia and remorse, one that demands your attention and draws you in to sit enthralled as it plays out before you. All good things must come to an end and ‘Maps – Burned or Lost’ closes with At The End of The Day an allegorical tale of life as it is today. The graceful and harmonious music and telling lyrics seep into your very soul, I can imagine myself listening to this song with a glass of red wine in my hand, contemplating life, the universe and everything. It’s not a demanding listen but it is one that does require your attention.
Frank Smith and Jeremy Sills have delivered their most profound musical work yet, ‘Maps – Burned or Lost’ is a wonderfully involving collection of songs about love, life and loss that is very relevant in this turbulent world we live in today. You can lose yourself in the well wrought words and the excellent music and come out of the other side in a much better place than you started and that’s what I want from my music.
“Another World” is the first full length album born from the chance connection between prolific bassist and collaborator Colin Edwin (Porcupine Tree/Metallic Taste of Blood/Twinscapes/O.R.k.) and Estonian experimental guitarist and composer Robert Jürjendal (UMA, Slow Electric, Jan Bang etc.)
A finely balanced blend of Colin Edwin’s trademark deep, hypnotic basslines and rhythmic sensibilities paired with Robert Jürjendal’s spontaneous yet expansive, sweeping and lyrical guitar style, ‘Another World’ reveals itself to be a sophisticated, finely crafted and highly evocative instrumental statement across it’s measured 9 track selection.
The duo were aided in their decidedly outward looking approach by the stellar talents of Australian trumpet phenom Ian Dixon, (whose credits include Ape, Ute, Can’s Irmin Schmidt, and legendary Ethiopian artist Mulatu Astatke) and expert Norwegian electronica and sample manipulator Isak Nygaard. ‘Another World’ mines a rich seam of sonic inventiveness to create a multi layered and highly engaging blend of ECM style ambient coolness, subterranean atmospherics and cinematographic beauty.
Kicking off with a virtuosic blast from Ian Dixon’s muted trumpet, opening track “Blue Mint” sets the pace with a cascade of echoing bass delays set against glassy and ever evolving guitar textures, complemented by a subtle backdrop of finely wrought, ever changing and pulsating electronic textures.
Other highlights include the deep dub infused “Frozen Fields” , the playful, yet concentrated “Sancho Panza” and “Tightrope Walker”, where Ian Dixon’s FX laden improvisations spin teasingly over Frippish guitarisms met with insistent and propulsive bass patterns.
Album closer, “My Island”, unfolds slowly from an introspective beginning before gradually building to an intense, molten guitar solo, which finally cools into an ambient dialogue between trumpet, electronica and Robert Jürjendal’s artful guitar textures.
Whilst evoking the space, freshness and openness of the Baltic, “Another World” also showcases an artistically open and creative partnership with teasing, subtle, intricate and elemental forces waiting to be discovered within a seemingly minimalist environment.
Packaged in a fold out card wallet with original album artwork by Kitty Jürjendal.
Kino have announced the release of their new album ‘Radio Voltaire’, arriving 13 years after the band’s much-loved debut ‘Picture’ back in 2005. Out on March 23rd, 2018, it sees John Mitchell (It Bites, Lonely Robot) & Pete Trewavas (Marillion) teaming up once more, with Craig Blundell (Steven Wilson) on drums & John Beck (It Bites) guesting on keyboards.
Recorded at the end of 2017, writing began at the end of that Summer. “We actually began the writing process in late August” says John Mitchell. “Pete had a few tunes and so did I, and we went from there.” Mitchell and Trewavas were both a crucial part of the original band more than a decade ago, with the former providing lead vocals and guitar parts, while the latter played his trademark bass lines and also contributed backing vocals.
Keyboard player John Beck, who is also a bandmate of Mitchell’s in It Bites, has been brought back. But while he was fully involved on the debut album, this time his role is that of a guest musician. “Yes, I am delighted to say we’ve gone John on board. His keyboard playing is splattered throughout the album, and I’ve also done the odd keyboard part myself.” The task of drummer this time fell to Craig Blundell, as Mitchell explains: “This time around Craig was the obvious choice to be the drummer, as far as I was concerned. I have worked with him so much that there was nobody else in the frame.”
Of the albums direction, Mitchell illustrates: “The title sounds very cool and obviously there’s a connection with the band Cabaret Voltaire. But Voltaire himself (the 18th century French philosopher) had a fascination with death, which appealed to me. He also stood for freedom of speech and freedom of religion. On top of that, I love the idea of a radio station that would reflect his views on life and cut through the bullshit which seems to be all over politics. Now, that is the type of radio station I think would reflect what a lot of us want to hear.”
The album cover has been designed by Paul Tippett, who is one of the most in demand artists of the modern era. “I like what he’s done with this sleeve. It reminds me of Moulin Rouge meets ‘Live And Let Die’. It is very striking, and I am sure everyone will have their own interpretation of what it reminds them of.”
The album will be available on Limited CD Digipak (including bonus tracks), Jewel Case CD, Gatefold 180g Double Vinyl (incl. CD) & Digital Download.
The tracklisting can be found below:
2.The Dead Club
4.I Don’t Know Why
5.I Won’t Break So Easily Any More
7.Out of Time
8.Warmth of the Sun
9.Grey Shapes on Concrete Fields
10.Keep The Faith
11.The Silent Fighter Pilot
12.Temple Tudor (Piano Mix)
13.The Dead Club (Berlin Headquarter Mix)
14.Keep The Faith (Orchestral Mix)
15.The Kino Funfair
Charlie Barnes has announced ‘Oceanography’, his second album for Superball Music. The follow up to 2015’s post-pop monster ‘More Stately Mansions’, ‘Oceanography’ finds Barnes in a different place in his life. The past two years have seen huge change for the musician, he has spent the majority of his time on the road as a touring member of Bastille, performing on some of the biggest stages in the world and travelling all over the globe as well as getting married and relocating from Leeds to the Midlands.
In contrast to his previous LP – largely recorded in one place with producer Oceansize guitarist Steve Durose – ‘Oceanography’ is a story of snatched moments after tour rehearsals, late nights spent in far flung studios from Wales to Virginia, ideas sent back and forth over email and put down in fits and starts while on the road. At points it seemed like it would never come together, so it’s some achievement that it not only matches the attention-grabbing maximalist prog-pop of ‘More Stately Mansions’, but builds and expands on that record’s foundations.
“The last few years have been totally bonkers,” admits Barnes. “I was rarely at home, so I was doing a lot of arrangement work in dressing rooms and hotels on a tiny keyboard. I eventually took to carrying recording gear around with me so that I could make the best use of any free time.”
Barnes had consciously decided even before joining Bastille that he wanted to make an album more honed and streamlined, so it is that much of ‘Oceanography’ is built around pop hooks that although vast in sonics are earworm tight in their structure. There is a more consistent palette of sounds used throughout, with songs comfortable in shifting between newer synth explorations and reverting to long-held influences Oceansize and Amplifier – shining particularly prominently on tracks like Ruins and Maria.
However, there’s no getting away from the impact that working with one of the UK’s biggest touring bands has had on his work. For one thing, Dan Smith himself pops up on backing vocals on Will & Testament – a track that arguably stands out in its pared-down synthetic feel compared to the string-tinged rock grandiosity of much of the rest of the album. Smith’s inclusion came after he’d asked to hear what Barnes had been working on while out on tour with them, but his mark on the album is more diffuse that a guest cameo: “Being with Bastille during the making of their second album, I got to hear how some of those songs took shape over time, from small changes to entire reworks” he says. “I think that helped me to be a bit more cut-throat with my own songs and try to streamline things a bit.”
Charlie has also shared the first single & video to be taken from ‘Oceanography’ which is due out on Superball Music on the 9th of March.
‘Oceanography’ will be released on Superball Music on the 9th of March 2018 and can be pre-ordered now from here.
A full-band UK tour will also take place ahead of the album’s release.
Some words from Charlie on the new tour –
“I’m fully blown kid-in-sweetshop excited about these upcoming dates. It’s going to be a little bit different to anything I’ve done before, so expect to see some new faces (well, one new face…), and the occasional support slot from another familiar face (my face, doing something else). These will be my first live performances with a band since my mate Alex’s wedding a couple of years ago where we played a load of (superbly curated) cover versions (Biffy, Wheatus, Bowie…), so I’m definitely feeling the nerves about getting back to frontman duties. It’ll be okay. Right? Come and say hello. We’re very clean.”
Tour dates are listed below –
· March 7th – Leeds, Oporto (with The Society Pages)
· March 13th – Glasgow, Bloc
· March 14th – Leicester, The Cookie (with The Society Pages)
Following last year’s sell-out Genesis Revisited tour, prog icon and former Genesis guitarist, Steve Hackett, announces a 6-date UK tour in October. Treating fans to many favourite Genesis and Hackett numbers, this time Steve and his band will be accompanied by a 41-piece orchestra.
The decision to undertake this tour was cemented following the critical success of last year’s one-off US performance of the Genesis Revisited music with his band and the Buffalo Philharmonic Orchestra, conducted by the charismatic Bradley Thachuk.
It went down a storm with the audience and sounded amazing, with the orchestra adding even more texture and colour to these classic tracks, prompting Steve to want to perform more shows in this way. Such was the gusto and verve brought to the performance by conductor, Bradley Thachuk that he will fly over to the UK to conduct the October shows. This show promises to be a transcendent experience!
Steve explains, “I always hoped that the Genesis music would one day involve an orchestra and I’m proud to say I’ll now be able to make that dream a reality on my next British tour, involving my own extraordinary rock band alongside a full-sized orchestra.”
The show will feature some of Genesis’ best-loved songs, including Supper’s Ready, Dancing with the Moonlit Knight, Firth of Fifth and more. Steve will not be neglecting his remarkable solo repertoire and there will be tracks included such as Shadow of the Hierophant, El Niño and The Steppes.
Tour details are as follows: –
Monday, October 1st Nottingham Royal Concert Hall
Wednesday, October 3rd Manchester Bridgewater Hall
Joining Steve on the tour are his regular musicians Roger King (keyboards), Gary O’Toole (drums/percussion), Rob Townsend (saxes/flutes) with Nad Sylvan on vocals. They will be joined on this tour by Jonas Reingold from The Flower Kings on bass.
A columnist from an upmarket daily mentioned recently, that this time of year isn’t good for new music. How do these people get employed?
Two weeks into the new year and the quality of releases out and arriving are breathtaking, in scope and variation. Anticipation is at fever pitch at the expectation of numerous releases from new artists and old hands and I for one am looking forward to what the year brings.
Galahad’s ‘Seas Of Change’ is one of my most eagerly awaited. Having been a fan of Stu and the band from the earliest days I have always admired that, whilst they have their trademark sound, they have never been afraid to experiment and push the boundaries. Having followed a heavier path of late (last year’s release, ‘Quiet Storms’, being an exception) ‘Seas Of Change‘ sees the band mixing their various musical guises to give us a veritable melting pot of all that was, is and now will be Galahad.
Though I was sad to hear of long term guitarist Roy Keyworth departing the fold, the return of the wonderfully talented Lee Abraham riding on the crest of his excellent solo album ‘Colours’ and formidably wielding the guitars here, adds a refreshing impetus to the band demographic.
Talking of sound, keyboardist Dean Baker should give himself a huge slap on the back for writing all the music and compositional arrangements on ‘Seas Of Change’. He has done a impressive job in creating an ‘epic feel’ of an album, a feast for the aural senses. A sweeping panorama of sound that crashes like a tidal wave through your sound system, drenching you in it’s thrall. That’s before we get to mention just how good he actually is as a keyboardist and conjurer of effects.
As for Mr Stu Nicholson’s vocals, they have to my ears never sounded or fitted the material better. Let us also not forget the valued contributions from the formidable engine room, Spencer Luckman on drums & percussion, combined with the return of Tim Ashton on bass guitar. The album also features long term Galahad honorarian, the lovely Sarah Bolter, sprinkling the album with fragrant flute, clarinet and soprano sax.
It takes someone of a certain quality to harness all this energy and polish it into a glistening diamond. No problem there as ‘Seas Of Change’ was mixed and mastered, most ably, at Thin Ice Studios in Surrey by the magician that is Karl Groom, producing a sound as clear and fresh as a crystal lake, all nicely wrapped in a wonderful album cover by the ever talented Paul Tippett.
“So what of the album itself?” I hear you cry, “the subject, content and the tracks?”
There is dear reader, only one ‘Cecil B. DeMille’ size track that comprises the whole album.
According to Stu it was intended to be all of seven minutes but grew into the force formidable to which it now stands. Galahad have never shied from difficult, thorny subjects and if you are looking for English, pastoral poetry, with hearts and flowers, look elsewhere.
Stabbing at the heart of the government, this merry band of men (and lady) take politics and politicians skilfully and tactfully to task over Brexit, the public debates surrounding and following it, as the politicians have circled like sharks with the British public as bait, causing much confusion.
With a wry nod and a wink Galahad deliberate through the music as it rises and falls, majestic one moment, reflective the next. The quality of the material, musicianship and sound is faultless. This album cannot be dipped in and out of, but must be consumed as a whole which if you do, you should find most satisfying, whether your palate be to a fine glass of merlot or a huge feast.
If you have sampled the band before and found them not to your taste I will not force feed you, but merely ask you try this album or you could miss out on one of the tastiest releases of 2018. Me? I’m off back for seconds…
A band so new they have not reached their first birthday release their first EP and stamp a clear identity on the music they create. Based in Reading, self defined Prog Metalcore band Arcaeon give us 4 songs and try to show the variation and style they are writing and performing.
The album opens with Endeavour anda deceptive ethereal guitar riff and what I assume is guitar synthesised melodic line that begins to intensify and then drops into a power chord and heavy bass line as William Alex Young begins his vocals. Like a shock trooper in a musical war he hits hard and strong with deep and rasping tones for the first verses and to reinforce the Prog credentials the Metalcore shifts, the manic becoming calm and the storm fades. A voice not entirely dissimilar from James Hetfield comes from the speakers but, like the eye of a hurricane, that passes and the storm returns.
Fade has a similar mix of vocal styles and rhythm variances with harmonies and screaming and pounding bass lines. It is intricate and technical along with a high level of skill involved, the discipline and control involved is impressive. The contrasting use of clean vocal harmonies and the intense growling gives an interesting and additional element to the music. The guitar lines shift from frenetic then calm soloing eases the mind lulling it into a false sense of security.
Mind’s Eyeopens up and immediately I am reminded of Maschine’s last album and Kyros, tight and melodic before they shift into the powered vocals for the verse and an out of nowhere a guitar solo that comes straight out of the classic rock playbook. There are moments when the intensity relaxes and shows that these guys are capable and talented musicians and can deliver more than just one style.
Dysaxisopens with a dial up modem connecting and drops into a similar pattern of mixed rhythmic and bass driven sound with the guitar and effects dancing round it! Eifion and Joe are in tune with each other totally.
Arcaeon are one of the increasingly large number of band that are coming from influences such as Muse, Animals As Leaders, Opeth and TesseracT rather than the route of bands from 40 years or more ago. They are young, keen and ambitious and appear at first glance to have no real connection to Progressive Rock in the traditional way. It was inevitable that the “golden age bands” would lose their grip as an influence as time distanced them from young musicians. BUT they draw from bands that had those bands as influences, so the experiences are second hand and so less precious to them. The metalcore aspect will not be for everyone but it does have merit and skill and is progressive. They are learning their art and will grow and that will be an interesting journey to follow. I can see this being a great and powerful live experience as well.
This is not music for the faint-hearted neither do I think that the fans of the pastoral and symphonic silo of the Prog genre will enjoy this EP. Fans of Opeth, Dream Theater, Ne Obliviscaris and Animals As Leaders will find something to love here. This is one area of the Progressive Rock movement that is getting young and talented bands coming through more and more. They have a young audience too, I think if any band will break through the wall into mass acceptance it will be Arcaeon or of their ilk.
South London duo VLMV will release their debut album ‘Stranded, Not Lost’ on February 16th, the follow up to their 2016 mini-album which garnered the self-proclaimed “ambient-ish, post-something” outfit praise from the likes of Lauren Laverne, The Independent, Killing Moon, London in Stereo and more.
These previous releases have earned the band tours with post-rock stalwarts Nordic Giants and New Zealand trio Jakob as well as performances at festivals across Europe where their live show, a blend of the delicate, emotional vocals of Keaton Henson, the compositional beauty of Olafur Arnalds and a touch of the crashing and climactic soundscapes of Sigur Ros & Explosions In The Sky have wowed and hushed audiences all over the continent.
The band, up until recently, known as ALMA (until several cases of mistaken identity with the BBC Sound of 2018 nominee necessitated a branding rethink) have announced their new album ‘Stranded, Not Lost’ is to be released on Fierce Panda on the 16th February 2018. A collection of 10 new compositions from the band that perfectly recaptures the fragile, fragrant essence of their esteemed debut ‘ALMA’ album which hoovered up comparisons to fellow explorers Sigur Ros, Patrick Watson and Explosions in The Sky.
‘Stranded, Not Lost’ is a gorgeous and moving record replete with the kind of brooding, ambient soundscapes, soaring vocals and crashing intensity that have earned the band a small legion of dedicated fans and a fearsome live reputation.
The band, which was formed in 2015 by songwriter Pete Lambrou have been described as sounding like “the background music to an ambient explosion in space”, which is perhaps unsurprising when one considers that as mainstay of Codes in The Clouds and Monsters Build Mean Robots Lambrou’s gently cosmic post-rock provenance is impeccable.
Joined by fellow Code In The Cloudser Ciaran Morahan, VLMV deploy a loop station, multiple delay pedals, a piano and strings to create a slow-moving, high-flying soundscape of luscious gravitas.
When asked about the new album, VLMV’sPete Lambrou said: “Stranded, Not Lost is the first album I’ve written as a whole album, and not just songs that are pieced together to form a sort of best of after a certain period. I built a retreat studio in the basement of my house and buried myself there for a while. I wanted to keep this spatial feel that our previous album had, but create something more intimate. Thematically it’s a very inward album, which I haven’t really done for a long time. I think you can really hear the isolation in there. It’s personal, lonely and regretful.”
The band have also announced a set of UK & EU Tour dates in support of the album:
19/02 – LWL Museum – Munster
20/01 – Le caf & Diskaire – Lille
21/02 – Galerie vom Zufall und vom Glück – Hanover