Album Review – League of Lights – In The In Between

League of Lights – the electronic rock/synth pop duo featuring couple Farrah and Richard West.

Farrah and Richard met on the outskirts of London, crossing paths for the first time in the mid 1990’s. Many years later they assembled a stellar cast of luminaries comprising Dutch guitarist Ruud Jolie (Within Temptation), American drummer Mark Zonder (Fates Warning) and fellow Brit Jerry Meehan (Robbie Williams) to guest on their debut album in 2011. Simply entitled ‘League of Lights‘, the album fused elements of pop, rock and metal into their own unique blend.

“We come from very different musical backgrounds,” says Richard, “and League of Lights is all about where we meet in the middle. It couldn’t exist without both of us”.

The following year the duo teamed up with Glynn Morgan (Threshold) to record the single “Forever”. The three also performed together on stage for a unique concert backed by a 40-voice choir.

Now in 2019 Farrah and Richard are back with a new album ‘In the in Between’ that showcases Farrah’s sublime and enchanting vocals across 14 new original songs with a sound that makes room for electronic rock, synth pop, piano, cinematic soundscapes and everything in between.

“It’s been a long journey to get here,” says Farrah. “From the day we recorded our first song together we’ve been working towards creating something that combines the heart of who we are. We’re really proud to have reached this point on our journey “.

Photo courtesy of Dariusz Szermanowicz at Grupa13

“It took us a little while, but I’m so proud to share our new League of Lights music with you.”, Richard goes on to say, “It’s just me and Farrah doing everything this time – in the past we’ve collaborated with such talented musicians and good friends, but this time we wanted to make something that was 100% ourselves. So we hope you love it as much as we do!”

Most of you will know Richard from being a co-founder of the legendary prog-metal group Threshold but he also released an album with Dec Burke and Simon Andersson in 2015 under the name AudioPlastik and, to these ears, League of Lights is definitely more comparable with the latter.

To be honest this album is chock full of catchy hooks, brilliant vocals from Farrah and Richard’s distinctive keyboard sounds. I have had it on repeat ever since I was sent the promo and it is rapidly becoming a favourite which, knowing what music usually floats my boat, has come as a little bit of a surprise.

Songs like Due Diligence and Spectrometer could easily grace the mainstream dance charts with their infectious rhythms and driving beats and the icing on the cake is Farrah’s honeyed, mellifluous vocals that harks back to the great synth-pop anthems of the 90’s.

Opener Shockwave has a more direct and harder edge and you can hear the rockier side of Richard’s keyboard playing, surely a track that will become a live favourite with the soaring chorus and sing-along verse.

The whole album is just one incredibly addictive hit of excellent songwriting and serious musical talent that continues to deliver track after track. The ethereal beauty of Scarlet Thread, the 80’s electronic grooves of Down Down and the ambient EDM vibe of Strong Enough, the quality just never dips.

The best is kept until last which, for a record of this sheer quality, is quite a thing to say. Hammer is an intense, powerful song where Farrah’s voice captivates and enthralls and Kings and Queens is, for me, the highlight of a stand out album. It hypnotises and mesmerises throughout its intriguing three and a half minute running time. The measured delivery of the stylish vocals and the brilliant guitar motif give the song some real gravity and depth, one of the best I’ve heard this year and that’s saying something.

The passion continues with the symphonic/synth prog influxed Roll and List, another elegant and exquisite piece of music and the album closes with Promises and Dreams, another track that would have graced the 90’s with its sublime grace.

What League of Lights have done is written a wonderful homage to the synth-pop highs of the late 80’s and early 90’s and brought it bang up to date for a modern musical world. For me it is chock full of nostalgia and is a wonderful and involving listening experience. Another highlight in a year that is beginning to produce quite a few but don’t take my word for it, go out and buy it and see for yourself!

Released 27th September 2019

Order direct from League of lights:

https://leagueoflights.com/shop/

AFENGINN – Scandinavia’s leading neo-folk, post-classical voice to release new album

Afenginn, which means “intoxication and strength” in old norse, is Danish composer and musician, Kim Rafael Nyberg, one of the leading neo-folk, post-classical voices in Scandinavia. Having toured all over Europe, Australia and the US and performed at numerous festivals, concert halls and venues, Nyberg’s deeply ambitious, orchestrated compositions are based on his seemingly mercurial creative impulses with a strong DIY underpinning, with each of his previous bodies of work being a clear departure from the last. Obvious comparisons would be Hauschka, Goldmund, Jonny Greenwood and Dustin O’Halloran.

On his new album ‘Klingra’, released 11th October via , Nyberg has crafted a gentle yet fervent post-classical exploration into the temperament of intertwined cycles. Both the music and poetry (in Faroese) are composed by using interlocked cyclical patterns. Like the gears in a clock, the parallel themes intersect at points, creating contracted dissonance or lifting consonance. The overarching experience is deeply contemplative and melancholic, with a light of emancipation always just ahead.

With a sound palette of two pianos, a string quartet (The Danish String Quartet), pedal steel guitar, synth bass and two drummers supporting the haunting vocals of Ólavur Jákupsson (Yann Tiersen), Klingra’s eight tracks flow one into the other, rippling with layers of ostinatos of unequal lengths, leading to a feeling of constantly being driven forward on an obscured path. The listener can be excited by both the mathematical design of the music as well as the raw emotional expression.

Afenginn has picked up numerous accolades back home in his native Denmark including ‘Composer of the Year’ (2014, 2016), ‘Album of the Year’ (2005, 2010, 2016) and ‘Best Live Act’ (2016) at the Danish Music Awards.

Kim Nyberg

“Klingra (circle in Faroese) is one of my more delicate and introspective pieces that leans one degree further into the neo-classical realm. I’ve been working with the theme of circles/cycles to inspire both the way the music is composed and the story within the poetry”, says Nyberg

There’s a norse melancholy and cheerful madness that runs deep through the heart of ‘Klingra’, no more evident than on the opening three compositions. The rhythmic and melodic finesse of ‘Skjálvtin’ (The Impact), makes way for a deeply emotive ‘Litirnir’ (The Colours), before ‘Himnakroppanir’ (Celestial Bodies), is the crest on a wave that’s been building over the last two pieces, as it surges with urgent interlocking patterns, as the tension gradually builds.

Common in Nyberg’s work is the use of minimalistic patterning (akin to the techniques of Philip Glass and Arvo Pärt), which fluctuate between creating a tidal propulsion and a sense of austere fragility. This is consistently contrasted against epic post-rock swells that are both sensual and disbanding.

Available on CD, vinyl and digital formats, the vinyl edition has been utilized as a compositional tool. Two different introductions are pressed into parallel grooves on the record, offering the listener two alternate listening experiences depending on where the needle begins on the circle. The B side ends with a closed loop that musically brings one back to the start of the album.

Track listing:

1.      ‘Skjálvtin’ (The Impact)

2.      ‘Litirnir’ (The Colours)

3.      ‘Himnakropparnir’ (Celestial Bodies)

4.      ‘Ivin T’ (The Doubt)

5.      ‘Vitin’ (The Lighthouse)

6.      ‘Skapanin’ (The Creation)

7.      ‘Tøkkin’ (The Thanking)

8.      ‘Eftirskjálvtin’ (The Aftershock)

https://en-gb.facebook.com/afenginn

Review – IQ – Resistance – By Leo Trimming

We live in contentious and dark times so maybe it’s not surprising that IQ’s latest album ‘Resistance’ has a real sense of titanic struggles, whether they are internal conflicts or global issues, as the band create a tidal wave of dense and dramatic music. If you thought 2014’s brilliant ‘The Road of Bones’ was dark then prepare yourself for the stygian shades that colour this epic double album. IQ have not held back in this release immersing themselves deeply in to gothic depths with intense and yet captivating music.

‘A Missile’ plunges us almost literally right in to the album as a descending drone and falling electronic pulse thrusts us in to a thunderous maelstrom of drums, bass and keyboards – it just sounds absolutely MASSIVE! Pete Nicholls sings powerfully, riding this ballistic Missile of a song with great skill and feeling – this feels like someone expelling their soul in to the void:

‘What I thought could save me was artificial, Raking across my nerves and taking possession…

…There is no Faith can be sustained,

No Original Sin to blame, Now I know…’

Neil Durant spices up the keyboards with weird, distorted synths. Paul Cook is simply outstanding on drums as he drives this absolute panzer of a song onwards.

What Peter Nicholls sings about exactly is always open to interpretation, but he has a tremendous ability to evoke images and feelings through poetic words and obscure phrases – you don’t know exactly but you can certainly draw a sense of the emotions that inspired his lyrics. When you listen to IQ each time a whole new line or phrase can just jump out and hit a nerve in ways you had not noticed the last time you listened. Such a thought also brings me to a conclusion I have drawn about IQ albums.

For this review I had to put up some ‘Resistance’ (yeah, I know, corny) to the Progradar editor who was gently suggesting I should try to complete the review in a few days prior to the album launch gig on September 7th. A listener needs to ‘live’ with an IQ album for a little while, and then they usually reveal their hidden gems. Some of my most favourite IQ songs and albums have not always ‘clicked’ with me initially, but with a little time I ‘get’ it and I appreciate the quality and depth of the material.

That has been the case with ‘Resistance’ for me, and it was well worth immersing myself in the album. The interlinked songs ‘Rise’ and ‘Stay Down’ did not hit me immediately but now I feel awed by their skilful blending of light and dark, Rise commencing with loud foreboding chords like some sort of epic sci-fi landscape, as depicted on the striking and rather beautiful cover by Tony Lythgoe. ‘Rise’ segues in to ‘Stay Down’ which echoes the previous throbbing chords and melody of ‘Rise’ with a simple piano line under Nicholls’ sorrowful voice.  Pizzicato keyboard notes and cello sounds carry the song on gently but the tension rises with guitar and the sound of ticking clocks. This remarkable song then almost literally falls off a cliff with a massive landslide of keyboards, bass, drums and guitars as Nicholls appears to rail against a breakdown:

If I don’t make success out of real life,  Nothing doing

Fall Back, break out, inside, can’t see, can drown

Shut up while I stay down, The less I can handle

The more I can blame on my breakdown

This is dark and very powerful stuff both musically and lyrically, and one has to wonder what Pete Nicholls and Mike Holmes were feeling when they wrote this album. It feels like this release may have been a cathartic expulsion of emotions.

‘Shallow Bay’ is a more straightforward rock piece with an elegiac feel and gives Michael Holmes a perfect showcase for a fluid, emotive guitar solo over a titanic organ for the conclusion. The intensity decreases significantly for the beautiful ‘If Anything’, demonstrating that IQ know that darkness needs to be contrasted with light and hope. With an opening slightly reminiscent of a song by The Cars, Nicholls’ warm vocals lays out lovely images over delicately picked Spanish guitar:

‘Not anyone could take my Heart, And send it soaring so high,

Far above the setting Sun we’d fly’

Tim Esau’s deftly played gentle bass and Paul Cook’s subtle drums and percussion perfectly underpin this gentle piece, demonstrating that it’s not all about power. However, just when we’re settling down in to a soft blanket of a song an ominous drone echoing The Beatles ‘A Day in the Life’ presages the clanging chords heard previously in ‘Rise’ and a Hammer Horror like organ from Neil Durant segues us in to the weird carnival sounds of the  outstanding epic ‘For Another Lifetime’. This peculiar opening evokes the feel of a Ghost Story, especially as the opening sequence eerily slows down and the vocals become distorted and then a classic IQ passage of guitars, drums, bass and keyboards, reminiscent of ‘Sacred Song’ from 2004’s ‘Dark Matter’, builds the tension ominously. This tension breaks with the sound of thunder and a wave of sound breaks over us like a storm breaking – it’s just bloody exciting and stirring stuff! I love IQ moments like this when they really let loose with keyboards and guitars intertwining perfectly whilst ‘Cookie’ and Tim Esau drive the Leviathan on powerfully. Nicholls seems to be screaming in to a Hurricane;

‘And if there’s no Resistance, What am I Fighting For?

An unsung renegade evading radar, And if there’s no existence to worship and adore

A lethal chemistry invades, as dark as war’

The darkness seems to recede as Durant’s piano breaks through the clouds like sunshine, introducing a more optimistic sounding guitar line from Holmes, which soars upwards and Nicholls sings emotionally ‘And this is where I will stay, Holding on, Holding on, Holding on…’

For Another Lifetime is destined to become another much loved IQ classic epic song. No other band does it quite like them. Indeed, this album is unmistakably ‘IQ’ – they have a successful formula and they use it with great skill on this album. Sure they turn up the ‘Darkness’ button way up (and the ‘Mellotron’ effect… possibly a little too much at times?)… but the fundamental sound and feel is IQ all the way. They really do not need to experiment when they sound this good.

The second part of this double album is populated with two epic pieces, ‘The Great Spirit Way’ and ‘Fallout’.  This review will not go into great detail about these pieces – some things the listener needs to explore with a largely blank page. The Great Spirit Way is an intense piece which hardly lets up for it’s whole 20 minute plus duration, and features Neil Durant’s enormous organ sounds in abundance. Michael Holmes has shared that what was largely inspiring his music writing for this album was his feelings about the climate emergency, and the complacency towards this global threat. He suggested that groups like ‘Extinction Rebellion’ were the ‘Resistance’ against this issue, and perhaps Nicholls’ lyrics in this piece echo those concerns (but who knows when it comes to Peter’s words?!):

‘All the misfits in the world sure to change it

Though they’ve tried rearranging, Good for Bad,

Still the Mad King Reigns’

Fire and Security is a track that follows the familiar IQ template. It’s fine but not outstanding on the album… it’s difficult to stand out on a disc with two 20 minute epics! However, the other shorter song on disc 2 Perfect Space does succeed in making it’s mark. It is interesting to note in the credits that this is the one song on which it appears Neil Durant took the lead role in writing the music. His keyboard sounds are remarkable on this piece, ranging from a gentle ambient opening to an almost dirty sounding organ which bubbles and spits like lava in an incendiary guitar / organ duel in the middle which returns in the dramatic closing sequence.

The epic Fallout draws this saga to an end… it’s full of light and shade, soft and loud, drama and emotion – it’s a classic piece of IQ imagining, almost impossible to convey in words. The piano does make a welcome longer appearance in this piece – it does feel a little bit like powerful organs and keyboards somewhat dominate at times in this album so a gentle piano is a welcome lightening of mood. But that’s the point – IQ wanted to conjure up atmospheres imbued with gothic darkness with dense soundscapes so they chose instruments more suited to that feel.

1993… 1997… 2000… 2004… 2009… 2014… and now 2019. IQ albums since the 1990’s only appear about every 4 to 5 years. In the world of Progressive Rock music they are truly special events as this is one of the truly great bands of the last 35+ years… does this one match up to that fine heritage? Having ‘lived’ with it a little while I feel that it can honourably take it’s place in their fine canon of music. It’s not perfect – it’s difficult fully sustaining a double album (and perhaps the organ / mellotron sounds can be a little dominant?) , but there’s no weak tracks… and let’s face it even a weak IQ track is better than many band’s best tracks – this is IQ after all – the Crème de la Crème of modern progressive rock.

IQ have produced another fine album of imaginative progressive rock with exemplary musicianship and poetic lyricism – it’s just what they do, and they do it so well. It could be another 4 or 5 years until the next one so immerse yourself in this dense, dark epic world and join the Resistance!

Tracklist:

CD 1:

  1. A Missile
  2. Rise
  3. Stay Down
  4. Alampandria
  5. Shallow Bay
  6. If Anything
  7. For Another Lifetime

CD 2:

  1. The Great Spirit Way
  2. Fire and Security
  3. Perfect Space
  4. Fallout

MUSICIANS

Paul Cook  –  Drums & Percussion

Michael Holmes  –  Electric & Acoustic Guitars

Tim Esau – Bass & Bass Pedals

Peter Nicholls  –  Vocals & Backing Vocals

Neil Durrant  –  Keyboards

Released 27th September 2019

Order direct from the IQ online store:

https://www.iq-hq.co.uk/shop/

EXPLORING BIRDSONG sign to Long Branch Records

New single ‘The River’ released 2nd October

Band’s debut EP expected in Autumn

Rarely are new groups as exciting, talented or unique as EXPLORING BIRDSONG, the piano-led guitarless trio from Liverpool who have announced their signing to German independent label Long Branch Records.

Having recently graduated from Liverpool’s Institute of Performing Arts, the young group have already caught the eyes Prog Magazine, Kerrang! Magazine, Kerrang! Radio and Classic Rock Magazine as well as achieved two Progressive Music Awards nominations in 2019. Having only released two singles at this point, EXPLORING BIRDSONG have been hand-picked to support Sleep Token, toured with proggers Godsticks, caught the attention of Florence and the Machine, and performed at HRH Prog. Unplaceable for the most part, the band bring to mind elements of Steven WilsonKate Bush, RushSleep Token, and Agent Fresco.

The young trio are comprised of drummer Matt Harrison, bassist and keyboardist Jonny Knight (capable of playing both instruments simultaneously), and topped by keyboardist and vocalist Lynsey Ward‘s stunning, otherworldly vocals. 

“We are so excited to be signing with Long Branch Records. We’re extremely proud to be working with a label that is home to some of our favourite bands, and feel our music couldn’t be in better hands.” says Exploring Birdsong drummer Matt Harrison.

Long Branch Records label manager Manuel Schönfeld adds: “Exploring Birdsong are undoubtedly one of the most interesting new bands in the British progressive music scene. We’re super excited about the signing and are looking forward to a successful partnership.” 

Exploring Birdsong’s new single “The River” will be released on October 2nd, 2019 followed by their debut EP release in Autumn 2019.

Watch the band live:

03.10. UK, London – Underworld /w Sleep Token (sold out)
04.10. UK, Manchester – Manchester Academy 3 /w Sleep Token (sold out)

VLMV European Tour Fall 2019

Fresh off the back of a short run of UK shows with Charlie Barnes, VLMV have announced their Autumn / Fall 2019 tour, which sees the band visit some Cities and Countries for the first time. 

VLMV bring their slow build cinematic soundscape alongside an ambient backdrop of flickering lights and glitching visuals to Czechia, Germany, Austria, Slovenia, Slovakia, Hungary, Belgium and The Netherlands this Fall.

As live shows go, VLMV’s is something very unique, atmospheric and intimate. The London duo hardly ever play traditional venues, and vere towards ‘interesting spaces’. Last year they crammed into Prague’s tiny ‘Haenke’ botanical shop and gallery, and this time around they play Pruh – an abandoned limestone quarry in Slovenia.

What’s in a name? In the case of VLMV, many oblique things. Ostensibly a self-proclaimed ‘ambient-ish post-something” duo from the southern reaches of London, VLMV were recently known as ALMA until several cases of mistaken identity with a green-haired Finnish pop princess necessitated a gentlemanly branding rethink.

Formed in 2015 and fronted by songwriter Pete Lambrou, VLMV released their debut mini album via Fierce Panda Records in August 2015, along with ‘Remixes & Reworkings’, a digital overhaul of their esteemed debut album, shortly after, and more recently 2018’s ‘Stranded, Not Lost’.

Joined by fellow Code In The Clouder, Ciaran Morahan, VLMV deploy loop stations, multiple delay pedals, piano and strings to create a slow-moving, high-flying soundscape of luscious gravitas which has been described by The Independent as “Breath-taking in its scope and evoking imagery of the vastness of space…a shimmering soundscape of delicate ethereal beauty.”

Quite fittingly, VLMV take their name from the Atacama Large Millimeter / submillimeter Array – “a really bloody powerful telescope”.

Tour dates 2019

21.09  (A)void Floating Gallery Prague CZE

22.09  A und V Leipzig DEU

24.09  Heppel & Ettlich Munich DEU

25.09  Hole of Fame Dresden DEU

26.09  Werk X-Petersplatz Vienna AUT

27.09  Stadtwerkstatt Linz AUT

28.09  Pruh Zgornja Kungota SVN

29.09  In Between Books Sessions Bratislava SVK

30.09  Secret Show Budapest HUN

01.10    clubCANN Backstage, Stuttgart DEU

02.10   Alter Schlachthof Eupen BEL

03.10   Muziekgieterij Maastricht NLD

“Building atmospheric and quietly epic soundscapes that creep up on you unannounced….like a beam of light through a dark, cold night.” – Lauren Laverne BBC6 Music

This is the perfect record to look up at our immense sky at night and wonder what’s out there” – Music & Riots

http://www.vlmv.co.uk/
https://www.facebook.com/vlmvband

Franck Carducci Band Reveal Artwork and Release Date For ‘The Answer’

The Franck Carducci Band ave announced that their upcoming album “The Answer” will be released on November 28 2019 (for ThanksGiving) on Vinyl & CD
It features some very special guests including Derek Sherinian (Alice Cooper, Dream-Theater, Billy Idol, Black Country Communion, …), Jimmy Pallagrosi(Zio, Karnataka, …) and Fabrice Dutour (Backroads, Dyslesia)

The mixing was done by Christian Morfin and Franck Carducci, and the mastering is now in progress at RealWorld Studios (England)

The artwork (see cover above) was designed by Élisa Mottet, based on a photograph by Émilie Trontin featuring model Charlotte Giraud-Grosso.

Tracklist:

SIDE A:
1. (Love is) The Answer     08:02
2. Slave to Rock ‘n’ Roll     05:42
3. Superstar                        12:30

SIDE B:
4. The After Effect            10:03
5. The Game of Life          04:33
6. Asylum                          11:08

The CD version will have 4 bonus tracks (2 songs + 2 radio cuts)

Review – Richard Henshall – The Cocoon

“Acclaimed for his work as a founding member of prog metal standouts Haken, as well as Nova Collective, Mike Portnoy’s Shattered Fortress, and as a Strandberg Guitars associate artist, Richard Henshall is now prepared to release his debut solo album, ‘The Cocoon’.  Consisting of eight tracks that range from dense polyrhythmic passages to delicate minimalistic interludes and everything in between, ‘The Cocoon’ features Henshall’s trademark guitar and keyboard playing throughout, and marks his debut performance as a lead vocalist.”

I was intrigued when I heard that Richard Henshall was releasing a solo album, I’m a big fan of Prog-metal behemoths Haken and a major factor behind their success and sound is this talented musician.

There’s no getting away from the fact that this does sound, in parts, like a Haken release but that’s not a criticism, the song composition and musical variety on show will not only appeal to fans of the band but also bring in a wider audience. The rhythm section is composed of Conner Green (Haken) on bass and Matt Lynch (Cynic and Nova Collective) on drums who bring a unique, energising approach to the record.

Richard calls on a plethora of musical guests who add their own individuality including Jordan Rudess, Marco Sfogli and Haken vocalist Ross Jennings and this gives a very different feel to that of the last Haken offering.

The album opens with the introductory instrumental “Pupa” which transforms from calm and collected to frenetic and energetic before seamlessly integrating with “Cocoon”, a ten minute musical foray into dense polyrhythmic passages and short, frantic staccato bursts that throws the listener right out of kilter, the King Crimsonesque saxophone from jazz aficionado Adam Carillo is suitably mind bending and brilliant.

“Silken Chains” provides a calming influence and really showcases Henshall’s impressive vocal skills. Following the low key intro, an upbeat, almost pop infused vibe runs throughout the song with the pared back vocal and edgy rhythm and the guitar solo from guest David Maxim Micic is just a delight to listen to. “Limbo” is a short musical interlude with pared back vocals and hushed tones that gives an almost industrial feel.

To this reviewer “Lunar Room” channels Linkin Park and Eminem with its Nu-Metal/Rap vibe and notable vocals from Ben Levin and Jessica Kion and really gives this album its own sense of identity. The dense musical passages contrast perfectly with the deliberated vocals, it is intelligent and thought provoking and contains yet another impressive guest solo, this time from prog-metal legend Marco Sfogli. It is about this time that I realised how engrossed I had become in Richard’s creation, a testimony to his skill as a songwriter.

Perhaps the most Haken-like track on the album, “Twisted Shadows” sees Richard collaborating with his Haken band mate Ross Jennings who provides a powerful, polarising vocal performance. The song seems to skit through the verse, edgy and restless, Jennings providing just the right amount of unease and Henshall’s guitar a willing collaborator. The dominant chorus seems to erupt almost out of nowhere and Jordan Rudess turning up to add his signature keyboards makes the track a captivating and coruscating musical journey.

My favourite track on the whole album is the wonderful “Afterglow”, I just love the whole feel of this song, like a beacon of light in a world edging every closer to darkness. The humble guitar, uplifting keyboards and Chris Baum’s strings add a soulful tinge before everything breaks out with an outpouring of hope, like the sun rising above the horizon to signal the beginning of a brand new day.

The Cocoon is a truly impressive release and one that shows Richard Henshall at the height of his creative powers. He takes the influences from his time in Haken and Nova Collective and fuses them into something truly individual that can sit astride the progressive and metal genres with equal appeal and that is not an easy thing to do.

Released 26th July 2019

The Cocoon is available from Burning Shed:

https://burningshed.com/store/richardhenshall