Banco del Mutuo Soccorso launch ‘La Pianura Rossa’; second single taken from ‘Orlando: Le Forme dell’Amore’ 

Legendary Italian progressive rockers Banco del Mutuo Soccorso celebrate their 50th anniversary in 2022, with the release of possibly their most ambitious concept album since their debut. “Orlando: Le Forme dell’Amore” will be released on the 23rd September 2022, and today they launch the second single ‘La Pianura Rossa’. Watch the lyric video here: 

Vittorio Nocenzi comments: 

“’La pianura rossa/Red plain’ was actually the very first song composed for this new album some 9 years ago as we started conceiving and writing ‘Orlando : le forme dell’amore/The shapes of love’. That is the reason why this song has a very special meaning to us. It was originally titled “The War” as it describes the battle for water between Christians and Saracens in a dried out Mediterranean Sea. A parallel with the story narrated in the Ludovico Ariosto’s poem Orlando Furioso. This second single comes ahead of the album release on the 23rd September and after such a long time since the beginning of this journey we are so excited to have all our fans to listen to this new material.”

Listen to the first single ‘Cadere O Volare’ here:

Vittorio Nocenzi has been working on this new album’s musical concept for years together with his son Michelangelo and lyricist Paolo Logli. Narrating a real XVI century poem through different songs and describing the facts and the ideals was a mountain to climb.  

The result of the immense work in the studio is fully represented in an epic album that will set new parameters for progressive rock fans. Undoubtedly Banco has always been strongly related to their roots, but “Orlando: Le Forme dell’Amore” is a definitive proof of how traditional prog rock can evolve in a modern new blend of sound and spirit. 

The choice of singing the tracks on this album only in Italian (as before on “Transiberiana”) confirms the band’s will to stay loyal to what they’ve been doing from the very beginning. In order to help the fans understand and follow the lyrics better on a track by track basis, English translations of the lyrics will be included in the artwork, along with the original Italian lyrics.  In addition to that the band will post a detailed explanation of the whole concept and the album’s narration on their website.  The album will be available as a Limited CD Digipak, Gatefold 180g 2LP+CD & Digital Album. Pre-order now here: https://bancodelmutuosoccorso.lnk.to/Orlando-LeFormeDellAmore

As mentioned, the band celebrate their 50th anniversary, with the bands first two albums originally released in 1972. The band is already celebrating this occasion with an intensive live tour. Look out for more information in the coming months.

Steve Hackett – ‘Genesis Revisited Live: Seconds Out & More’ out now; live clip of ‘The Lamb Lies Down On Broadway’ launched

Legendary guitarist Steve Hackett is pleased to release ‘Genesis Revisited Live: Seconds Out & More’, the visual document of his 2021 UK tour celebrating the classic Genesis live album. Available today as CD/Blu-ray, CD/DVD & Digital Audio (vinyl will be released 25th November), it sees Steve and his band perform ‘Seconds Out’ in full & in sequence, as well

as a selection of solo material including tracks from his most recent studio album ‘Surrender of Silence’.

To celebrate, they are launching a clip of their performance of ‘The Lamb Lies Down on Broadway’. Watch it now here: 

Watch the previously released clips here:

‘The Devil’s Cathedral’: https://youtu.be/If-qk7gFAjs

‘Squonk’: https://youtu.be/5hDktUIzoQo

‘Genesis Revisited Live: Seconds Out & More’ is available as Limited 2CD + Blu-ray & Limited 2CD + DVD, both including 5.1 surround sound, behind the scenes documentary & promo videos. Steve Hackett and his band comprise Roger King, Rob Townsend, Jonas Reingold, Nad Sylvan & Craig Blundell, and they were joined by Amanda Lehmann as special guest on the night.

It will also be available as Ltd Gatefold 180g 4LP+2CD, and as Digital Audio Album (in 16 & 24bit). Order now here: https://stevehackett.lnk.to/GenesisRevisitedLive-SecondsOutAndMore

The full track-listing is as follows:

1. Apollo Intro 00:01:02

2. Clocks – The Angel Of Mons 00:04:17

3. Held In The Shadows 00:07:09

4. Every Day 00:06:12

5. The Devil’s Cathedral 00:05:56

6. Shadow Of The Hierophant 00:10:49

7. Squonk 00:06:29

8. The Carpet Crawlers 00:05:50

9. Robbery, Assault And Battery 00:05:57

10. Afterglow 00:03:51

11. Firth Of Fifth 00:09:58

12. I Know What I Like (In Your Wardrobe) 00:08:20

13. The Lamb Lies Down On Broadway 00:05:10

14. Musical Box (Closing Section) 00:02:51

15. Supper’s Ready 00:24:49

16. The Cinema Show 00:10:35

17. Aisle Of Plenty 00:02:03

18. Dance On A Volcano 00:04:24

19. Los Endos 00:06:35

In September and October 2022, Steve Hackett & band will present their ‘Foxtrot at Fifty’ 25-date tour in the UK. Full list of dates below. To buy tickets go to HackettSongs.com

Tickets for Steve Hackett Genesis Revisited – Foxtrot at Fifty + Hackett Highlights are on sale from hackettsongs.com and myticket.co.uk

About Steve Hackett

Steve Hackett joined Genesis at the beginning of 1971 and gained an international reputation as the guitarist in the band’s classic line-up alongside Peter Gabriel, Tony Banks, Mike Rutherford and Phil Collins. Hackett’s intricate guitar work was a key element of Genesis’ albums from Nursery Cryme (1971) to Wind And Wuthering (1977) including the classic Selling England By The Pound.

After leaving Genesis at the end of 1977, Hackett’s solo career, which now spans more than 30 albums, has demonstrated his extraordinary versatility with both electric and acoustic guitar. Hackett is renowned as both an immensely talented and innovative rock musician and a virtuoso classical guitarist and composer and this was recognised in 2010 when he was inducted into the Rock Hall Of Fame. He has also worked alongside Steve Howe of YES in the supergroup GTR.

Hackett’s compositions take influences from many genres, including jazz, classical and blues. For his later studio works The Night Siren (2017) and At The Edge Of Light (2019) Hackett has explored the influences of world music. Recent tours have seen Hackett celebrate his time with Genesis including a spectacular 2018 tour in which he realised a long-held ambition to perform the works of Genesis live with his band and an orchestra.

The lockdown enforced by the 2020 global pandemic has proven to be a particularly creative period for Hackett. He began by releasing Selling England by the Pound & Spectral Mornings: Live at Hammersmith, a live recording of 2019’s hugely successful tour celebrating that Genesis classic together with the 40th anniversary of one of his most-loved solo albums. Lockdown also gave Hackett the opportunity to write and record two new studio albums, the UK Classical Chart hit Under A Mediterranean Sky and the forthcoming Surrender of Silence.

Review – Marillion – Holidays In Eden – 2022 Remix Deluxe Edition – by Leo Trimming

‘Holidays in Eden’, first released in 1991, is the latest edition in Marillion’s series of deluxe re-releases. This was a release for which their record company E.M.I. had high expectations of the band after Steve Hogarth’s debut album with the band in 1989. ‘Seasons End’ was relatively successful, but crucially for E.M.I. it did not spawn any great singles success which would have helped it ‘cross over’ from the niche rock market, as ‘Kayleigh’ had so memorably done in the mid-80’s. Therefore, the pressure was on for Marillion to become more commercial although the band were largely more interested in writing more ambitious pieces than three-minute radio hits. Out of this tension developed an album which certainly divided opinion at the time, but which also produced some classic Marillion songs, particularly the stark brilliance of Splintering Heart, which remains to this day a staple of their tours, often opening shows with a dark grandeur.

So let’s put this album in context – It is a common perception that most bands have a ‘difficult second album’ (and Marillion certainly did so with ‘Fugazi’ with Fish in 1984!!), but uniquely somehow Marillion contrived to have a ‘second difficult second album’ as ‘Holidays in Eden’ was a far from smooth process for Steve Hogarth’s sophomore album with the band. What the band were finding is that working on the next release with Hogarth was simply not flowing in the same way as their experience with ‘Seasons End’. Writing sessions at Stanbridge studios near Brighton were lengthy and frustrating, producing little material. ‘Seasons End’ had already had a lot of the music formed with sessions with Fish that never reached fruition. Lyrically, John Helmer had also written significant contributions, so when Steve Hogarth joined it felt deceptively easy to hone this material with some added material, such as Hogarth’s ‘Easter’, into an excellent album. Their second album with Hogarth was much more of a challenge, starting more or less from scratch. Hogarth and the band were discovering they had very different approaches to song writing and it took them some time to adjust to each other. Indeed, at one-point tensions grew to the point that Hogarth was effectively ‘sent home’ as his more rapid, business-like song-writing style just was not matching the rest of the band who were rather more into improvised jamming over long periods, looking for that elusive spark amidst hours of often fruitless playing. However, after that ‘break’ Hogarth returned two weeks later with a whole new song for the band, ‘The Party’ very much in the Marillion mould. Additionally, in his absence the rest of the band returned to material they had originally demoed in 1988 with Fish in ill-fated sessions at Dalnagar Castle in Scotland and eventually out of those ideas grew the closing suite of ‘This Town / Rake’s progress / 100 Nights’… but it was clear that generally things were not quite flowing second time around.

The band attempted to recreate their happy memories of the recording of Season’s End, returning to Hook End Manor in Oxfordshire – but they do say ‘never go back’. Marillion found this was not such a magical experience, partly because it was in winter and not a glorious summer as it had been for the previous album, and possibly because E.M.I. were not being quite so ‘laissez-faire’ with funding their rather extravagant life in the country! Marillion’s previous producer Chris Kimsey was not available so E.M.I. put forward Chris Neil as their next producer, who had previously starred as Jesus on the West End in ‘Jesus Christ Superstar’… and rather more curiously had also been the lead in a cheap early 70’s sex comedy film ‘Adventures of a Plumber’s Mate’! In the music industry he was rather more well known for great success with pop acts like Shakin’ Stevens, Dollar and Sheena Easton. In the period leading up to ‘Holidays in Eden’ he had also produced Mike and the Mechanics for their massive hit album and single ‘The Living Years’, so it seems evident that E.M.I. had aspirations for Marillion to similarly have success as a chart friendly soft rock band. Chris Neil’s association with the main ‘Mechanic’ Mike Rutherford of rock behemoths Genesis certainly made him a palatable and quite enticing option for the band. Chris Neil also told them that his son was a massive Marillion fan, so he really did not want to mess them up. On the other hand, he also knew that the record company were expecting him to produce three hit singles off the album to project the band onto the next level and match their previous mid-80’s chart successes. Hence, out of that tension between Marillion’s progressive leanings and a record company’s desire for ‘hits’ was born the curious creature of ‘Holidays in Eden’.

It is probably fair to say that fan reaction at the time was mixed. Jon Collins in his fine Marillion biography ‘Separated out’ shared that the Dutch Progressive Rock Page reported that on the ‘Holidays in Eden’ tour at the Ahoy in Netherlands ‘a substantial part of the audience booed when Steve Hogarth announced they would be playing quite a lot from the new album’. In contrast, notable fans such as guitarist Janick Gers of Iron Maiden has said that ‘Holidays in Eden’ is one of his most favourite albums and apparently Formula One Racing driver Jacques Villeneuve used to listen to the album while practising for races! Pete Trewavas wisely said in the fascinating accompanying Blu-ray ‘Pain and Heaven’ documentary, for some fans who had started following Marillion with ‘Seasons End’ or ‘Holidays in Eden’ this album may well be one of their favourite Marillion albums as ‘these albums end up becoming other peoples’ really.

So how does it sound over 30 years later?

There will probably be two sorts of potential listeners considering this album – those that have bought it previously and are interested in the musical ‘extras’, the remixed sound, and the packaging. There will be others who may be discovering Marillion more recently who may know little about this album and wonder whether it’s worth buying?

The short answer is a qualified ‘YES’ – in truth this album was too hamstrung by compromises to be considered as one of their best albums, but there is enough quality in the original material and the extras to satisfy punters old and new. Unlike the flawed and rushed original mix of ‘Fugazi’, which the deluxe edition remix transformed wonderfully, this remix of ‘Holidays in Eden’ does not have the same transformative effect, as the original version was pretty well produced and mixed. However, this remix does add a new dimension to some of the songs and there is much else to attract longer term followers. A little more information on the tracks may help new listeners, and may provide some insights for long-time fans.

The more progressive elements of Marillion are well represented on this album with ‘Splintering Heart’, ‘The Party’ and the closing ‘This Town’ suite. ‘Splintering Heart’ started out rather differently in the demos, beginning much more heavy with a wall of wailing guitars, as can be heard rather spectacularly on the Blu-Ray with an early version recorded live at the Moles club. Chris Neil in Steve Hogarth’s ‘Corona Diaries’ podcasts has shared that he felt that the original version did not have enough dynamic range as an album opener so he suggested a different spookier intro, which rather belies the notion that he was just there to make them sound more ‘poppy’. Steve Rothery and Mark Kelly spent quite some time devising the atmospheric opening sequence of loops and synthesisers – it helped transform a fairly standard rock song into a classic, dripping with menace as ‘h’ sings with such feeling over the extended intro until the jaw dropping moment when he sings ‘but not as much as this…’ and the whole band crashes in like an avalanche, with Rothery’s guitar screeching like a banshee. The piece drops again into a more contemplative, shimmering section based on guitar samples Hogarth used to trigger with his white midi-gloves for live renditions of the ‘Seasons End’ song ‘Berlin, apparently one of the few times that something emerging from a Marillion gig soundcheck has evolved into a song. The song rises to a crescendo with Rothery seemingly wringing the neck of his guitar with pain filled guitar sounds and one can really imagine someone’s heart shattering. Hogarth has previously shared in the 1998 remaster version that he wrote the lyrics in a rather icy Toronto in 1990 and that he was ‘imagining a heart shattering from its own hardness… or coldness’. Splintering Heart continues the fine Marillion tradition of brilliant album opening songs and it remains a sure fire way to start a Marillion gig all these years later.

The more Progressive flavour of the album continues with ‘The Party’. Hogarth had started work on this during the ‘Seasons End’ writing sessions but largely finished it whilst he was on his aforementioned ‘break’ during the ‘Holidays…’ sessions. This song goes totally against the idea by some fans at the time that Hogarth was the pretty ‘pop boy’ trying to commercialise Marillion – as Hogarth wrote in the 1998 remaster sleeve notes ‘if Splintering Heart and The Party are pop songs, I’ll eat my pink telecaster!’ Indeed in the ‘Pain and Heaven’ documentary Pete Trewavas described ‘The Party’ as ‘quite classically Marillion. ‘The Party’ is a recollection of teenage parties, drawn from Hogarth’s adolescent memories of dubious underage drinking and the sexually charged atmosphere pervading such gatherings. Some of the lines were also inspired by another party – Hogarth’s experience with Magic Mushrooms after a memorable ‘Mexican Party’ at Stanbridge studios! ‘The Party’ starts quite simply with Steve Hogarth singing about a girl buying a bottle of cider over a simple Kelly piano motif, initially mirroring the naivety of a young girl going to her first party. The rising tempo and power of the music evokes the developing drama with ‘strange aromas, and noises and candles, that was where he found her’. Chris Neil recently shared in ‘The Corona Diaries’ podcast how impressed he was with Hogarth’s lyrics for ‘The Party’. He loved the lyrical story with its plot and nuances, describing Hogarth’s songs as ‘one act plays’. The rest of the band provided the backdrop for this drama as the trippy middle section in which ‘she never felt like anything like this before’ gives way to a distorted, guitar solo and great rumbling bass work and dissonant drumming, evoking how she would have been feeling after her first drug experience. Hogarth screams in anguish before the inevitable ‘come down’ over a plaintive piano and Hogarth’s voice conveying the feelings of the girl after losing her virginity in less than romantic circumstances. In some ways there are echoes of the much more celebrated classic psychodrama ‘Incubus’ song from ‘Fugazi’, and in my view ‘The Party’ is a highlight of ‘Holidays in Eden’, and rather an underestimated gem in the Marillion songbook. Curiously, Hogarth also shared with ‘Prog’ magazine that the teenage party upon which this story is based was also the first time he ever heard ‘The Yes Album’ by Yes which he says ‘changed my whole idea about music’– sounds like quite a party!! (😊)

The album is closed with the 12 minutes progressive rock three act play comprising ‘This Town’, ‘The Rake’s Progress’ and ‘100 Nights’. During the early writing sessions the band were struggling to find a creative spark so they returned to material from the abortive Dalnagar sessions in 1988 with Fish, and they found the basis for this closing epic.’ ‘This Town’ rolls in on a police siren , a wave of Mosley’s drumming and some gritty guitar from Rothery. Kelly’s keyboards rise as they reach the rousing chorus. Rothery’s guitars get dirtier as the story descends into corruption and Hogarth’s vocals become more strident, and after the final chorus Rothery’s guitars reach skyward conversely just as the narrative takes a decidedly darker  descent:

‘This Town takes us down, takes us down, I feel like I’m losing you to This Town,

The morning breaks and I watch you awake and This Town takes you down away from me again.’

The semi-autobiographical but mainly fictional story focuses on how a couple move to a city to make their fortune. However, they discover that cities can corrupt, and it starts to tear them apart as they follow their own ambitions. The short middle bridge in the suite, The Rake’s Progress, takes a very different direction musically with muted dreamy synth tones, subtle bass pulses, restrained rolls and splashes of toms and cymbals and eerie guitar phrases conveying a sinister, shadowy world in which our main protagonist transforms from being the jilted broken heart into a manipulative, cynical gigolo. The title is also a play on words as ‘The Rake’s Progress’ is a series of paintings by C18th painter William Hogarth (no relation!) about a young man’s descent into drunken debauchery and eventual insanity.  

The final piece of this suite is the dark brooding ‘100 Nights’ which chimes in on a simple echoing guitar motif and synth accents with our anti-hero manipulating all around him without compunction. Hogarth sings with deceptive gentleness, a wolf in sheep’s clothing, ruining a relationship with cool indifference. Rothery’s screeching guitar break almost screams out the real corruption at the heart of this story and Hogarth’s vocals rise in power with the whole band. ‘100 Nights’ seems to just fade away with a rolling guitar riff and echoing vocals on a subtle bed of keys, drums and bass – maybe it signifies that the main protagonist will drift on exploiting others endlessly, but it is rather disappointing as a finale. In the documentary Mark Kelly comments that in his view ‘we skimmed the surface of it in terms of what we could have done with it instrumentally’ which seems to confirm the nagging feeling that this was a lost opportunity with a great foundation which was not fully explored or expanded enough. Kelly has also said that Chris Neil worked very quickly and that his no nonsense approach rather limited musical experimentation, especially for the keyboards, except notably his inspired suggestion for the start of ‘Splintering Heart.’ For a producer with an ear for hooks and hits it is probably not too surprising that when it came to helping the band fashioning more ambitious extended pieces, he was rather less motivated or instrumental in realising those sorts of musical visions.

This is perhaps borne out by the interesting lineage of ‘This Town’ which can be traced on the deluxe edition as the Blu-Ray includes a very early demo version at Stanbridge, and then a later live demo at the Bath Moles club, through to the recorded album version. What is notable about the Stanbridge demo, recorded without the producer, is that it has a distinctly staccato and rockier feel much in the vein of classic songs by The Who – indeed Ian Mosley shared in the documentary that it was known as ‘the Who number’ in the Stanbridge sessions. The later Moles Club version seems to take it further into heavier territory with great energy. In that context it is easier to understand some of the disappointment expressed by both Ian Mosley and Steve Rothery in the documentary about the loss of that energy and feel in the final recorded version. Steve Rothery did remark that the new remix does restore some of the ‘meat it lacks on the original’ album version. It is also notable that now if Marillion play the ‘This Town’ suite they embellish it sonically and with much more power as if making up for not having done so originally.

Mark Kelly in his entertaining autobiography ‘Marillion Misadventures and Marathons : the Life and Times of Mad Jack’ describes ‘Holidays in Eden’ with the old football analogy as ‘an album with two halves. The pop approach of our singles… and, so not to scare the horses and some of our older fans, the longer episodic pieces…’ Before venturing into the ‘Pop half’ there is one halfway house in the shape of the far more straightforward rock of title tune ‘Holidays in Eden’. Based on a John Helmer lyric about going on holiday and losing your identity ‘Holidays in Eden’, begins with birdsong and a jet plane before launching full tilt into the main riff with crashing drums, banks of keyboards and power riffs before receding into jangling guitars and soft drumming on a synth bed. The rolling anthemic refrain precedes some meaty organ work from Kelly and the whole piece bounces along rather jauntily before some steepling guitar lines at the rather apt mid-song break ‘You wake up one morning, wondering who you are’, which may have crossed the minds of the band during this recording process as they sought to find their new identity.

The song ploughs on with the same rock driven pattern with a rising Rothery guitar and Kelly keyboard crescendo and a rather abrupt ending and a muted ‘well, that was a laugh, wasn’t it?’ heard in the background. It’s a straightforward engaging piece of rock/pop but it seems to have disappointed the band. Written by the rest of the band whilst Hogarth was on his ‘break’, in the 1998 remaster notes he suggests the music could have been a lot wilder to reflect the primal elements of the story. Pete Trewavas shares this reservation stating that it ‘should have been more than it was’. Similarly, Rothery states in the documentary that their live version gives it more energy and rawness, and in his view the remix has restored some of that edge.

Chris Neil had a brief from E.M.I. to find three hit singles. The first obvious candidate was ‘No One Can’, based on a chord sequence by Mark Kelly upon which Hogarth wrote a touching love song for his wife and shared memories with his children, about distance not mattering if you are in love. Mark Kelly considers it a good pop song although felt a little frustrated that for Neil the main focus was always about the vocals, which are lushly arranged with Hogarth sounding gorgeous, but no real room for any musical experimentation or embellishment, except a short clean and compressed guitar interlude. There are definite echoes of the smooth jangling chimes of The Police’s ‘Every Breath you take’, but alas despite extensive radio play at the time and a stylish video it did not really penetrate the higher reaches of the U.K. charts. It is probably the most commercial song the band have ever produced and certainly caused some consternation with some older fans at the time, but looking back now it just feels like a pleasant, pretty pop song – indeed, as Hogarth has said in his ‘Corona Diaries’ podcasts it definitely sounds like a hit from 1992… but it wasn’t!

The first single off the album was the rather more upbeat pop/rock of ‘Cover My Eyes’ (Pain and Heaven)’ which was not even a song before Chris Neil joined them to produce the album. He suggested marrying a distinctly U2 or Simple Minds like guitar riff and vocal melody by Rothery with a verse from an old song by Hogarth’s previous short lived ‘How We Live’ band, called ‘Simon’s Car’. Apparently, the lyrics are partly inspired by the glamourous 60’s British film actress Eleanor Bron, probably embodying all such unobtainable beautiful women, as reflected in the beautiful women populating the rather stylish pop video. It is a fun piece of rollocking pop/rock with an anthemic ‘hey, hey, hey’ call echoing a certain Simple Minds refrain. The band roll along to great polished effect with Rothery sounding suitably heroic on guitar. One curiosity about this song is that for some strange reason Chris Neil brought drummer Roland Kerridge into the studio to sample Ian Mosley’s drums so they could be played on an electronic kit, which was quite the fashion at the time. Mosley plays the drums on this song but they are all electronic, hence their rather ‘shiny’ and ‘bright’ sound – they sound ‘OK’ but why sample drums electronically when you have a drummer of the class of Ian Mosley in the studio? Chris Neil has since had the good grace to admit that this probably not his best idea!

There was still one more ‘single’ Chris Neil needed to fashion for the album to satisfy the label, so he suggested that Marillion cover ‘Dry Land’ from the only ‘How We Live’ album. Hogarth explains in the documentary that this felt rather awkward and weird for him as it was ‘not something I would have pushed for myself’, thereby squashing further the notion that it was Steve Hogarth who was pushing the band in a poppier direction. Nevertheless, Hogarth gives a great vocal about the sexual tension of thinking there may be something going on with someone you like, but not being quite sure. ‘Dry Land’ is very close to the original ‘How We Live’ version – indeed , it’s almost a carbon copy! Marillion smoothly lay out a bed of softly chiming guitars and string synths underpinned by a cool bass and drums foundation. The main variation to the original is Rothery’s delightfully tasteful guitar solo, which surprisingly Rothery states is the solo he is most proud of on the whole album.

Every Marillion album has at least one ‘hidden gem’ which seems to not quite gain the attention it may deserve in comparison to other more celebrated songs. For me on this album it is Waiting to Happen, and it was pleasing to note in the documentary that Steve Rothery feels it is one of his favourite songs from the album and ‘it’s what I would have wanted from the whole album’. Apparently, the band were considering dropping it, but Chris Neil wisely encouraged them to persist with the song which was eventually beautifully realised. It starts gently on a pillow of acoustic guitars and softly undulating synths upon which Hogarth sings with such grace about the magic and beauty of Love just below the surface in our lives. Hogarth shared that this lyric was based on a memory of lying in bed in his house unable to sleep ‘I lie awake at night, listening to you sleeping, I hear the darkness breathe’ and such is the gentleness of the words and music you almost feel you are in the same room. Out of this soft cocoon the spirit and music build to the bright sunburst of the chorus. Steve Rothery inevitably crowns this gem with a short but lovely guitar solo. The balance of the restrained verses and the celebratory choruses is the real power of this song, and Hogarth excels himself with some beautifully poetic imagery… insomnia never sounded so glorious!

Despite the attention Chris Neil and the band skilfully paid to these three ‘pop’ elements of the album none of them reached far up the charts, and from that album onwards it was clear that E.M.I. were losing patience with the band. Similarly, after the experience of being guided in a direction with which they were not totally comfortable Marillion were determined that in future they would remain in full control of future albums. Being typically Marillion they next moved almost 180 degrees from the ‘poppiest’ album of their career to one of their most progressive and ambitious releases, ‘Brave’ in 1994… but their days with E.M.I. were numbered. The main flaw with ‘Holidays in Eden‘ is that it simply tried too hard to satisfy conflicting aspirations, chart pop success versus expansive progressive rock pieces, and frankly it was largely unsuccessful on both counts. That does not make it a poor-quality album – there’s some great songs on here, and none of them are below standard. However, that unresolved tension resulted in diluting the focus with significant compromise and undermined the cohesiveness and feel of the album. The consequence many point to that arose from ‘Holidays…’ is the very different ‘Brave’ which was clearly a reaction to this one, but interestingly in the documentary Pete Trewavas intelligently draws a link to their great ‘Afraid of Sunlight’ album in 1995. He feels that what Marillion were trying to do on ‘Holidays in Eden’ was an album like ‘Afraid of Sunlight’, but ‘we just didn’t know how to do it’, which is a fascinating thought.

That’s the album – so what do you get with the deluxe edition, particularly if you are already familiar with the original album?

There is not the revelatory experience akin to the remix of ‘Fugazi’ for this remix, but it is definitely crisper and more impactful. It is perhaps significant that the songs which benefited most from the remix were the more ambitious, expansive pieces. Splintering Heart’s sinister programmed intro is more resonant and chilling, and The Party is noticeably sharper, with Pete Trewavas’ bass definitely and pleasantly higher up in the mix. ‘Holidays in Eden’ clearly has more ‘balls’ sonically. The remix for the shorter, more pop oriented pieces seem less obvious in impact, but in truth none of these changes are startling which is a testament to the quality of the original production. Of course, some with high end music systems will probably be able to detect the tiniest differences and pick up on them, but to most mere mortals with standard equipment the differences are not enormous, but definitely do improve some of the songs.

Discs 2 & 3 of the deluxe edition contain a brilliant recording of the band at Hammersmith Odeon in 1991 – it’s a fantastic recording of a great gig. Marillion may have gone through some changes and challenges in their career, but they are never less than great on stage. There is a healthy mix of old and new material, and it was clear that by this time Hogarth was growing into the skin as the new Marillion vocalist. Unexpected gems include the sinisterly delicate ‘A Collection’ and two deep cuts from ‘Misplaced Childhood’. The material from ‘Seasons End’ sounds particularly effective in this show, especially ‘King of Sunset Town’ and ‘The Space…’, as they had more time to ‘bed in’ with the band.

The main attraction of the deluxe edition are the extras, including the ‘Pain and Heaven’ documentary in which each band member and the producer are interviewed individually. This may have been a covid issue, but interviewing them singly does seem to free up some band members who may not speak so much in a group interview. There are some fascinating insights from the band members into the album, although it is interesting to note that Steve Hogarth has admitted in the ‘Corona Diaries’ podcasts that the director Tim Sidwell had to re-edit the film as they were so self-critical that ‘it comes across everyone thought the album was a huge mistake’!! (😊) To be honest, you still sort of get that sense underlying Steve Rothery’s contributions, but it would be unfair to completely dismiss the album when one considers the quality of some of the songs already described.

In addition, the Blu-ray includes the album in 5.1 Audio which reveals the album in more satisfying surround sound clarity. The B-Sides and Bonus tracks from the 1998 remaster are also included on the Blu-ray, although I know some fans without that previous version will be disappointed that these tracks are confined to the Blu-ray on this edition. There are 4 videos of the band, including the great ‘crunchy’ original Stanbridge demo of ‘This Town’. The Blu-Ray also features the glossy videos for the three aforementioned singles – these are definitely ‘of their time’, but are fascinating insights into the ‘Pop machine’ E.M.I. wanted Marillion to join… but they resisted… and are still going strong over 30 years later.

Finally, one of the best elements of the deluxe edition is ‘Rockpalast’ video of their gig in Germany in 1991. What is clear is that this is a highly professional and confident live outfit with impeccable musicianship. Needless to say, they all look SO much younger, and Hogarth is impossibly handsome as their dynamic front man – no wonder E.M.I. wanted him to feature in the videos. It’s a television recording, but the quality on Blu-ray is fine and the crowd seem to lap up the show.  What is rather different to the Hammersmith show is the extended encore section with five Fish era songs, perhaps with a German TV audience in mind, which Hogarth handles with aplomb.  Somewhat unexpectedly they break into Cliff Richard’s ‘Summer Holiday’ during ‘Garden Party’ and ‘Sugar Mice’ is presented acoustically without Rothery’s guitar solo. The deluxe edition is presented in the usual attractive book form with Sarah Ball’s original striking beautiful blue illustration given more space – this as the first Marillion album to ditch the classic Marillion logo as it seemed clear they wanted to break from that image. The book and lyrics are decorated inside with some gorgeous artwork from Simon Ward and there is an interesting essay by Rich Wilson.

‘Holidays in Eden’ will never be regarded as one of the great Marillion albums. It showed a band at the crossroads, looking for a new direction but still not sure where to go at the time and pulled in different directions. Nevertheless, it is a significant album which strangely did influence their next step and underlined to the band the importance of artistic freedom when writing their music. Look back and wonder what might have happened if one of those singles had been a big hit – what would we have missed? Look back and see a band evolving towards a different future – clearly there was ‘Something Waiting to Happen.’

TRACK LISTING:

CD One –  Holidays in Eden 2022 Remix

  1. Splintering Heart                                     (6.45)
  2. Cover My Eyes (Pain & Heaven)           (4.04)
  3. The Party                                                  (5.37)
  4. No One Can                                              (4.46)
  5. Holidays in Eden                                      (5.23)
  6. Dry Land                                                    (4.45)
  7. Waiting to Happen                                  (4.55)
  8. This Town                                                  (3.19)
  9. The Rake’s Progress                                (1.54)
  10. 100 Nights                                                 (7.47)

CD Two –  Live at Hammersmith 30th September, 1991 (pt 1)

  1. Splintering Heart                                      (6.47)
  2. Garden Party                                             (7.13)
  3. Dry Land                                                     (4.51)
  4. The King of Sunset Town                        (8.12)
  5. The Party                                                   (6.08)
  6. Easter                                                         (6.34)
  7. The Space…                                               (7.50)
  8. Holloway Girl                                            (4.05)
  9. A Collection                                               (3.14)
  10. Waiting to Happen                                  (5.08)

CD Three – Live in Hammersmith 30th September, 1991 (pt 2)

  1. Cover My Eyes (Pain & Heaven)            (3.55)
  2. Lords of the Backstage                            (1.51)
  3. Blind Curve                                                (4.15)
  4. The Uninvited Guest                                (4.25)
  5. This Town                                                  (3.44)
  6. The Rake’s Progress                                 (2.15)
  7. 100 Nights                                                 (4.46)
  8. Slainte Mhath                                           (5.10)
  9. Holidays in Eden                                      (4.47)
  10. Hooks in You                                             (3.15)
  11. No One Can                                               (4.56)
  12. Berlin                                                          (8.14)
  13. Kayleigh                                                      (3.52)
  14. Incommunicado                                        (5.11)

Blu-Ray Disc

‘Holidays in Eden’ 2022 Stephen Taylor Remix – 5.1 Audio Version:

  • Same Track listing as CD 1

B-Sides & Bonus Tracks   (1998 Remaster Bonus Tracks):

  • Sympathy
  • How Can it Hurt
  • A Collection
  • Sympathy (Acoustic version)
  • I Will Walk on Water (Alternate Mix)
  • Splintering Heart (Live at Moles Club)
  • You Don’t need Anyone (Moles Club Demo)
  • No One Can (Moles Club Demo)
  • The Party (Moles Club Demo)
  • This Town (Moles Club Demo)
  • Waiting to Happen (Moles Club Demo)
  • Eric
  • The Epic (Fairground) (Mushroom Farm Demo)

Film – ‘Pain and Heaven’  (Approv 85 Mins)

The Story of Holidays in Eden  (Documentary)

‘Rockpalast’ Live show – German TV 1991.

Order direct from Marillion here:

marillion.com | Racket Records Store

Kalin Tonev Returns With New Single – ‘Sides’ – New Album Due In 2023

Five years after his last release Human Not Machine, Kalin Tonev is back with new material, which will result in a full blown album somewhere in 2023 (title TBA). This time Tonev has chosen to enter the vast territories of vocal music, introducing different singers in his music. The forthcoming new production promises a great variety of sound, style influences, form and arrangements, still retaining in its body several instrumental tracks (the core of Kalin’s previous work) under the big hat of progressive rock. The first single – SIDES – features Nikola Zdravkov as a vocalist.

Having released his first project – TravelHouse (with it’s sole album ‘Mind Mapping’ – 2008) and his solo album ‘Machine Years’ (2017) – both received good reviews in the main progressive rock sites and radio stations ( Prog Archives, Prog Radar, Morow, Friday Night Progressive, Aural Moon, Delicious Agony,etc.), and still being the author and presenter of the only one progressive rock radio show in Bulgaria (Oasis – part of the Bulgarian National Radio program Horizon), Kalin Tonev is one of the important local prog rock figures.

Watch the video for SIDES here:

Review – SiX BY SiX – s/t – by John Wenlock-Smith

This album is a new collaboration between Saga guitarist Ian Crichton, Saxon drummer Nigel Glockler and Robert Berry (ex Keith Emerson & Carl Palmer’s 3 project), it combines classic rock elements alongside more progressive ones. The good news is that it sounds glorious and there are plans to reconvene for a further excursion next year.

Album opener Yearning To Fly begins with the sound of a passing train before a very Rush sounding guitar line is played by Ian along with some stylish keyboards by Robert Berry, all underpinned by the powerful drums of Nigel Glockler who certainly pounds those skins, giving this opener some real punch. There is a very fluid guitar solo on which Ian let’s rip before the song returns to the chorus once again, as an opening statement this certainly makes a strong impression. I love the way in which these three lock in together and create something both new and yet somehow familiar, well to Saga fans anyway. Second Track China is another belter with a distorted opening guitar and a monstrous bass. Again, the mixture of muscle and melody is highly impressive , as are the vocals, which together work well. Another excellent guitar solo and that fabulous chorus make this another strong song, I am really enjoying this album so far. We then have a longer song, Reason To Feel Calm Again, which has lots of burbling synthesisers that propel the song along with ‘bagpipe’ sounding guitars. Very unusual but it works, making a great sound, really different and inventive. The song settles into a groove as Ian solos fluidly, gathering pace as the fine bass  holds it all together.

The Upside of Down is hinged on a steely Robert Berry bass line, which shows him to be a fine player who can both drive the song and pull the beat along well. It is a joy to hear this busy bass really making a strong impression, there’s also lots of ringing guitars throughout the track amid some signature tones and tricks that Ian has used with Saga to good effect over the years. Here, it sounds totally fitting for the sound that the band make together. The song Casino impresses with more great musicianship from the three men. The balance of power and melody is pretty near perfect on this album, all very impressive stuff I must say. The interplay between the rhythm section and the guitar is captivating and the production certainly helps in this too as it is clear as a bell. Live Forever is gentler at the start with a delicate guitar part amidst the great keyboards and sounds a little like an early Magnum effort. This is a prelude to another monster of a track, The Last Words On Earth, which opens with church organ before a brutal riff barges in. There are fabulous dynamics to this song and it’s very hard hitting in sound with lots of muscle and power at play, simply magnificent. A monstrous fiery solo takes this song off into the stratosphere to the songs conclusion, it’s truly awesome stuff.

Skyfall (not the Adele Bond theme!) follow, an intelligent number with lots happening throughout and a typical Crichton solo takes the song to the end of its course. It’s now into the home straight with the last two tracks. Battle Of A Lifetime is acoustically driven initially before the whole band crash in. The chorus is marvellous, as is the funky Berry bass that hold all this together and is joined by one of Ian’s classy solos with lots of string squeals and pinches. Again, it’s different and yet highly effective. Final song Save the Night is another longer song with lots of staccato playing from Ian and great bass from Robert, alongside the powerful drums that make this song have some real presence and cloud. The song has an urgent pace to it and closes out what has proved to be a highly impressive debut album.

Whether this translates into some live action remains to be seen but all parties are keen to do more and, if it’s a good as this is, then I say go for it! This debut release is a remarkably assured and polished debut that packs a punch with some great playing from all concerned,  I heavily recommend that you listen out for this one.

Released 19th August, 2022.

Order from the band here:

SiX BY SiX – China (lnk.to)

King’s X launch ‘All God’s Children’; third track taken from the bands forthcoming album ‘Three Sides of One’

The legendary King’s X, comprised of dUg Pinnick, Ty Tabor & Jerry Gaskill, recently announced the release of their 13th studio album ‘Three Sides of One’ on the 2nd September 2022, representing their first new music in 14 years.

Today the band are pleased to launch the video for, ‘All God’s Children’, the third track taken from the forthcoming album, “Three Sides Of One”.

When asked about his thoughts on the song and subject material, Tabor, simply answered; “I have nothing to say about it. The song is what I have to say about it”. 

Listen to the bands singles;

‘Let It Rain’: https://www.youtube.com/watch?v=BWUrrCB_Ulo

‘Give It Up’ : https://youtu.be/99pyxedohpk 

‘Three Sides of One’ will be available as Limited CD Digipak, Gatefold 180g 2LP+CD+LP-booklet & as Digital Album. There will also be a Limited Deluxe 180g Orange/Red Marble 2LP+CD+LP-booklet that also includes a poster and a hand-numbered print, as well as an exclusive variant of the front cover artwork. Pre-order now here: https://kingsx.lnk.to/ThreeSidesOfOne 

During 2019, the members congregated at Black Sound Studio in Pasadena, CA with Emmy Award-winning producer Michael Parnin to bring ‘Three Sides of One’ to life. Despite consistent touring, they hadn’t cut a new LP since 2008. Nevertheless, the guys picked up where they left off. Creative confidant and collaborator Wally Farkas rolled through, and they channelled their incredible chemistry on tape. 

Of the new album, dUg Pinnick comments:

“When I think of it, King’s X feels like a couple of old best friends coming together, shooting the shit, and having a good time, it’s instinctual. When I would listen to demo tapes of Jerry and Ty for the record, it gave me a great perspective on how blessed I am to be in King’s X. What they did on Three Sides of One sounded so good. For as familiar as it is, it’s like I’m in a new band.” 

Ty adds:

“This time, we sat around, listened to each other’s ideas, and would collectively say, ‘Let’s work on that’. It was the most enjoyable album I’ve personally ever recorded in my entire life, period.”

Jerry continues: “I’ll cherish what we did in my heart forever. Everything lined up perfectly.”

King’s X background:

Along the way, they architected a catalog of seminal releases. KERRANG! famously scored their 1988 full-length debut, Out of the Silent Planet, with a rare “5-out-of-5-stars.” On its heels, the landmark Gretchen Goes To Nebraska continues to inspire think pieces with Ultimate Classic Rock going as far to proclaim, “no one else has crafted anything remotely like it.” They notably appeared on the soundtrack to Bill & Ted’s Bogus Journey, and Guitar World christened the self-titled King’s X one of “The 30 Greatest Rock Guitar Albums of 1992” (a year notably highlighted by Pantera’s Vulgar Display of Power, Alice In Chains’ Dirt, Megadeth’s Countdown To Extinction, Dream Theater’s Images and Words, and many more). Following Dogman, the group graced the stage of Woodstock 1994 and toured with everyone from Pearl Jam and AC/DC to Mötley Crüe and Iron Maiden. They also attracted one of the most diehard fanbases in music with Ear Candy [1996], Tape Head [1998], Please Come Home… Mr. Bulbous [2000], Manic Moonlight [2001], Black Like Sunday [2003], Ogre Tones [2005], and XV [2008].

Their first full-length studio offering in 14 years, Three Sides of One, represents the culmination of this trip and of a bond forged way back in 1979. 

Review – Keef Hartley Band: Sinnin’ For You – The Albums 1969-1973 – by John Wenlock-Smith

This is a new 7 disc set that chronicles the illustrious career of Preston born drummer Keef Hartley and contains his entire output of seven albums recorded for Decca’s Deram label in the late 1960’s and early 70’s.

Keef Hartley was a fine drummer, in fact he was closely associated with John Mayall’s Blues Breakers and was even a member for the album ‘Crusade’ before leaving to form his own band. Keef had got bored with the whole blues thing and had set his sights on something different, a little less blues and more jazz rock oriented.

Growing up, I saw lots of these albums In my local record shop shop but never actually got around to hearing them for myself. This meant I was unaware of the fine music that he and the group were offering the public. What a tragedy that was, mind you I was very much into heavy metal like Judas Priest at the time and this sort of music was beyond my understanding. Now that I am older, I can now discover these treasures for myself. This fabulous set contains the seven albums made from 1968 to 1973 and what a set it is, all sympathetically remastered for optimum sound with bonus tracks, live tracks and, best of all a truly wonderful booklet that chronicles Keef’s thoughts and recollections of each album, this is how a retrospective should be done.

Hartley recorded his first album, ‘Halfbreed’, in March 1969 and it is now regarded as a classic of the genre. The music itself is also rather special as it fuses rock and blues leanings with horns to make a jazzy tone. Keef kept his work relatively straightforward and, in addition, he chose his group carefully with Gary Thain (bass) a mainstay. He also introduced Miller Anderson as guitarist and vocalist for most of the earlier albums. Thain and Hartley formed a fine rhythm section and the powered the band well, creating a solid bedrock off which the other members could leap off. This approach seemed to work well for the band as it allowed everyone to do their part. The music was pretty free form really, especially for the time it was recorded. There are strong jazzy interludes but the horns really added emphasis and drive to the proceedings. At times they could be fierce whilst at other points they were gently cosseting the sound, you could feel their presence even when they were being subtle.

The second disc, ‘The Battle Of North West Six’, is a prime example of this approach, especially the track Me And My Woman, with its excellent guitar lines and the horn stabs filling out the sound in-between while the ever busy bass of Gary Thain helps anchor the rhythm section, it’s a fabulous track. I actually think this is a better group effort than the debut as it feels more cohesive somehow. It now seems odd beginning to appreciate something that over fifty years old, just shows what was missing with my entrenched thinking. The track Not Foolish, Not Wise is another fine song with a small drum solo from Keef and great horn playing, And there’s more excellent music, the plaintive Waiting Around and the brooding Tadpole, with its slide guitar lines and the organ of Mick Weaver. There are also 4 live tracks from 1969 to enjoy in which you can hear how good this band really were, especially on Spanish Fly and Me And My Woman, which get a bit of a stretch out in a live setting.

The next album is 1970’s ‘The Time Is Near’, sadly not a gatefold CD and one without any bonus tracks. No matter, this is an album that may be more widely known as its cover is very distinctive, featuring an Indian on horseback with his arms open wide and with empty hands as if in supplication. Once again ,the songs are penned in the main by Miller Anderson and are generally a little softer sounding, but still with sufficient space for the horns to be present. A good example of this being the title track, hinged on a busy bass line by Gary, some mariachi style trumpet from Dave Caswell and some jazzy Sax from Lyle Jenkins along with some great guitar lines from Miller. It’s a gentle track overall as is the last track Change, although it does gain both pace and volume as it proceeds. This album is better sounding than its predecessors, which maybe because it was cut by George Peckham, an old friend of Keef, who did a fantastic job in giving the album real clarity and presence.

1971’s ‘Overdog’ is a far looser and more funky album with some blistering performances. The track Theme Song has an amazing drum duel between Keef and John Hiseman of Colosseum. They were friends as well as competitors and both avail themselves with dignity here. There is another somewhat unusual track that features backing vocals from Val Doonican’s backing singers, it’s very different from the norm but highly effective nonetheless. The record is bolstered by six lives tracks, including the epic Roundabout.

Following the release of ‘Overdog’, Hartley formed his own Big Band with a large horn section and performed a series of concerts, including a show at the Marquee Club in London which was released as the album ‘Little Big Band’. At this stage the band had a nine piece brass section, as the BBC had requested this for an in concert recording that was so well received, Keef repeated the idea again on a UK and short European tour. This live recording was done as part of that undertaking, it’s a bit rough and ready but it captured the excitement of the shows and gave airtime to some great tracks.

After this album, Miller left the band for a solo career. It was an amicable parting but meant the next album had a different line up. ‘Seventy Second Brave’ is another album that I used see and ignore regularly, what a fool. It is even funkier than ever, a new line up and a fresh start left Keef to really funk it up big style, which they do, especially on the first two songs Heartbreakin’ Woman and Marin County. The rest of the album has its moments, to be sure, there are even cameos from Peter Gabriel and Phil Collins, who provide backing vocals. You’ll have to work out which track for yourself. I suspect it to be Hard Pill To Swallow but I could be totally wrong. The album also has four live studio performances, you can hear the fabulous bass playing of Gary Thain who pulls the track along, locking in with Keef’s drums. Sadly Gary left shortly afterwards to join Uriah Heep until his death from a heroin overdose in 1975.

The next adventure for Keef was a solo album, ‘Lancashire Hustler’, which included some great guest vocalists in Robert Palmer, Elkie Brooks and Jess Roden. The album is very interesting as it features orchestrations on several tracks and you can clearly hear the trio of singers covering the Vinegar Joe track Circles. The music is less busy than his Keef Hartley Band output and this really works well. The voices melding well together to make some great tracks like You And Me and Australian Lady (which even includes Keef’s mother adding piano at the end of the track), Jess Roden taking the lead vocals and he does a splendid job of it too. There is still a strong brass element on display and they really work it up on several of the tracks.

There are some lovely performances on offer in this 7 disc box set which is why I can highly recommend this particular journey back in time to rediscover the wonderful music that Keef Hartley and his band produced over their stint with Decca. You will find much to enjoy here and the informative booklet and liner notes can be the guide on your discovery, thoroughly comprehensive and highly enjoyable too.

Released 8th May, 2022.

Order from Cherry Red Records here:

Keef Hartley Band: Sinnin’ For You – The Albums 1969-1973, 7CD Box Set – Cherry Red Records

There is still a strong brass element on display and they really work in up on several of the tracks, some lovely performances on offer here which is why I can recommend this particular journey back in time to rediscover the wonderful music that Keef Hartley and his band produced over their stint with Decca You willing much to enjoy here and the informative booklet and liner notes can be your guide  on your discovery..

Highly recommended set thoroughly comprehensive and highly enjoyable too,

LA’s Enigmatic DRAAGYN Takes Flight On Incendiary New EP “Bent Rib”

Los Angeles’ enigmatic songwriter and multi-instrumentalist DRAAGYN, known for her critically lauded, genre-bending blackened metal and cryptic persona, has revealed her first new music in 2 years in the form of a new EP titled “Bent Rib.” Out now, the 3 song record runs the gamut of musical design, incorporating experimental elements of black, doom and progressive metal among others that could be described as a turbulent orchestra of beauty and decay.

Commenting on the EP, Draagyn states: 

“We all just want to belong. So we fool ourselves. We let others’ view of who we are become our purpose. We are convinced this hall of mirrors is the true path of souls. This cuts us off from life. The cosmos. The greater powers to which we are all connected. But there is a cord. We can find it and pull ourselves back or choose to watch it slowly strangle us. I wrote ‘Bent Rib’ as an incantation. To release myself from a world I do not belong. To weave the yarns of fate and call it my own. Man has no power over me. He does not determine me. Draagyn is the light, and is the dark. Draagyn is the good, and is the evil. Draagyn is world creator and its destroyer. It matters not whether you understand. What is important is that there is a purpose.”

DRAAGYN’s debut EP, “Bent Rib,” is an aural three-headed serpent of cacophony, “Appetite of Man,” “Beating Heart Cadaver” and “Bent Rib,” each with their own mystifying identity and slithering scales of sonic perplexity that lure you in with enchanting whispers then set you ablaze in an inferno of furious rage. 

Stream “Bent Rib“:
Apple Music – https://apple.co/3wwEzN2
Spotify – https://spoti.fi/3QUnUv0
Youtube – https://youtu.be/lGA3DwACT00

Bent Rib” follows a string of mind-bending singles including “A Night Between Two Days,” “Venom” and “Majesty.”

About DRAAGYN:
From her previous releases, Draagyn has been coined a “genre-bending blackened tour de force” by Decibel and Brooklyn Vegan. As songwriter and multi-instrumentalist, Draagyn’s sound straddles the spectrum of light and dark, bridging delicate emotions with the raw force of metal and rock in a truly singular style. Her songwriting guides other musical outliers into masochistic darkness, and yet, in stark contrast, just as quietly whispers to the wretched and heartbroken, offering refuge in her tender melodies. And while the foundations of Draagyn’s music remain rooted in rock, she does as she pleases. She may choke it with blast beats, crush it with proggy groove, or drown it in folky, pensive vocals. But the recipe works. The deep musicality of her approach is undeniable, and for those both patient and brave, her songs lure listeners to another world, free of expectations and genre constraint. Draagyn threatens us with her tumultuous vision of death and musical rebirth.

Follow DRAAGYN:
https://www.draagyn.com 
https://www.instagram.com/_draagyn_ 
http://draagyn.bandcamp.com/ 

Review – Ryo Okumoto – The Myth Of The Mostrophus – by John Wenlock-Smith

This new release from Spock’s Beard keyboardist Ryo Okumoto is a most welcome offering, especially when it is as fine as this is. Furthermore, not only is it a very fine album but it is also a wonderful collaboration with Michael Whiteman of I Am The Manic Whale, who helped out lyrically with these songs and also co-produced the album with Ryo. The results being a highly accomplished and entertaining piece of work.

Ryo was able to draft all of his Beard colleagues to help, along with the likes of Steve Hackett, Marc Bonilla, Jonathan Mover, Randy McStine, Mike Keneally, Doug Wimbush and also Michael Sadler (from Saga) to contribute to the album. Over the sixty minute running time, it’s six tracks tell some great tales in addition to which, the guest musicians add their own individual magic.

The album begins with a belter of an opener in Mirror Mirror which features the Spock’s Beard boys joining with their ex singer/drummer Nick D’Virgilio once again to craft a storming track. The song features Ryo delivering some very frenzied Hammond Organ parts, you know this is prog when you hear the Hammond play! It’s a joy to hear this workout, it really is. The song, unsurprisingly, is very reminiscent of prime Spock’s Beard, as all the current incarnation are playing on it, along with Nick on vocals. There is lengthy organ solo, some fabulous bass lines and a fiery solo from Alan Morse, the song powering along really well before a climatic guitar line begins the long closing section. The lyrics are wonderful too and really add something different and special to the track, a fabulous opening statement. Turning Point is a stylish keyboard led track with Doug Wimbush adding a seriously funky bass. The graceful vocal from Michael Sadler is another plus to the track and the song really impresses with it excellent vocals and consummate musicianship, another winner to these ears. Next we have the very I Am The Manic Whale sounding The Watchmaker (Time On His Side), which, while being very familiar sounding due to Michael Whiteman’s vocals (not a bad thing at all), is a very good song.

Maximum Velocity is another great song with lots of synthesisers and also the always graceful guitar of Steve Hackett, who guests on the track a long with Marc  Bonilla, who plays rhythm guitar. The track, about the soon coming NASA moon mission, surges with such intensity that the next song, the far more gentle Chrysalis, comes as a welcome change of pace. A delicate, but earnest, vocal by Randy McStine makes for a highly memorable track. In the middle section, a brief but fine solo is ably matched by the dynamic bass of Doug Wimbush, whose presence helps make it a most impressive track.

The album closes with a monster track, the centrepiece of the album, The Myth Of The Mostrophus, a tale of hibernation and subsequent re-emergence and the chaos that causes. It is both a cautionary tale and also one of ecology, global warming and the like. The track is in six parts but makes one continuous 22 minute piece. Especially strong is part four, which is a prog disco track (honestly!) and the song offers an unusual solution to the Mostrophus, communal singing. It’s a catchy song that he sings and it would be great for an arena crowd. Sadly, I doubt we’ll ever realise that aim or hear the song the way it warrants but we do see the demise of the beast, thanks to the good people of Basingstoke! I think the track is really just a bit of fun and, perhaps, a poke at the pompousness of most prog rock songs or albums, even so it’s a remarkable track and a great way in which to close the album.

When you consider the genesis of the collaboration arose from a lock down Fusion Festival special that both Ryo and I Am The Manic Whale appeared on and the friendship that ensued, that makes this album both a treasure and also powerful proof in the wonders of technology and, also, of the magic of working together to create something of worth and value. I guess that only time will tell if further opportunities will be forthcoming, I for one sure hope that it does. ‘The Myth Of The Mostrophus’ really is a fantastic album and one of my favourites of the year. Yes, it really it’s that good and I encourage you to hear it for yourselves, highly memorable and highly recommended!

Released July 29th, 2022.

Order from Burning Shed here:

The Myth of the Mostrophus (burningshed.com)

Review – Cosmograf – Heroic Materials

“Music is the moonlight in the gloomy night of life.”Jean Paul Friedrich Richter

Music heals you, music lifts you, music gives you solace, music is one of the only things that gives you succour when you are both happy and sad and music has made my life a better place to be.

Music can also tell a story and when it is in the hands of a talented musician like Robin Armstrong, that tale can be absorbing and captivating.

‘Heroic Materials’ is the ninth album from Robin’s musical project Cosmograf and tells the story of William ‘Billy’ May, a heroic Spitfire pilot, who looks back on his life at the age of 99 and realises the world has completely changed since he was a young man put into an impossible scenario, defending his country from the air. He no longer recognises much of the modern world but understands that the human race must live in a different way in the future.

The album sees the character wrestling with his memories of the war, and harbouring nostalgia for a past era but he realises that change is essential if we are to avoid climate catastrophe.

“Well goodbye to the age of steam, I felt you
Goodbye to the age of cars, I loved you…”

‘Heroic Materials’ represents Robin’s most complete release yet and is the pinnacle of his musical career so far, the opening spoken word intro of I Recall draws you into the sepia tinged world of nostalgia and Robin’s plaintive vocal takes up the refrain and the feeling of loss of a past that will sadly be missed. As we segue into the next track with the unmistakeable sound of a Rolls Royce Merlin engine, the hairs begin to stand up on the nape of your neck…

“Eastleigh dawn,
Behold a new design is born. A battle in the sky,
Requires the best design to fly…”

The three-part title track Heroic Materials opens with a delightful piano refrain from former Big Big Train member Danny Manners and turns into a majestic, slow burning classic with evocative lyrics that see you almost losing yourself in the story of this fighter pilot and his fateful life in the sky. Robin’s guitar playing, always stellar, reaches incredible new heights on this utterly compelling and emotive tale. Both stirring and touching at the same time, the way the narrative ebbs and flows with the music shows there’s genius at work here.

“Close the Door,
It’s not this era anymore… A story told,
I know it never will grow old…”

Industry is a voice over telling us about how the E-Type Jaguar evolved from the D-Type racer…

“Designer, fold the light, Great art, make it right…”

Lead single from the album, the dynamic and powerful British Made stands tall as a statement of what we have lost as a manufacturing nation and is a nostalgic throwback to a golden era of motoring and you can feel the pride in Robin’s vocals, a feel of the calm before the storm that is the fervent energy in the ardent guitar playing. It is music as a statement and you can feel the yearning for times gone by and the remorse at the loss of what was once a fine and well respected industry in this country.

“There’s never a moment to talk or reflect Mary, there’s never a chance, to speak to you…”

Our hero Billy met Mary in 1941, she was in the Air Transport Auxiliary and lived her life like the Spitfires she flew, at high speed. Mary is a beautiful tribute to the woman that he loved and lost as she ran out of fuel on a routine run and crashed. A melancholy but bewitching piece of music that hits me on an emotional level, perfectly crafted and performed.

“Is this a long goodbye to everything that’s real?”

Blinkers is a wonderful, if brief, diatribe of finding the courage to change that which we have become accustomed to and its mournful vocals and delicate piano give it a truly wistful, rueful feel.

“To live beyond the dirty war,
To live beyond the worst disease, To help my loving family,
To love a life where I am free…”

Robin is truly one of the best songwriters out there when it comes to progressive rock and on If Things Don’t Change he is at his illuminating best. A modern balladeer and troubadour, the way he crafts his stories is inspirational. Talking about how climate change will destroy the earth and how change is difficult but we must try to make a difference. The empathy in the vocal and the thought provoking, electrifying music is just outstanding, just check out the heartrending guitar solo and tell me you are not touched deeply by it.

“But if this world returns to dirt,
Erased by fire and greed,
There will clearly be no need, to start another one…”

The Same Stupid Mistake fires a warning shot, if we don’t change, we will destroy the earth and there’s no need to start again. A slow, meandering rhythm has a serious and thoughtful atmosphere and the words slowly work their way into your brain, hopefully to make you sit up and listen.

“I wish I’d made the most of what I had
The chances lost just make me sad…”

Robin’s soulful guitar leads into the contemplative thoughts of Regretful Refrain, a persuasive reflection on a past unfulfilled. As we come to the end of our time on this planet we wonder if we could have done things differently and made a difference, left a legacy and this rueful track captures that feeling perfectly. The dynamic vocals and sorrowful, potent guitar yearn for a perception of better times.

“This is what is left,
It’s down to you.
The world you left is dead, What shall we do?”

The musical refrain from the opening track returns on final song A Better World, a sumptuous and charismatic track and a promise to the world that we can, and will, do better, it’s a fine way to bring things to a close as Robin intones, “I wish you were here too, We’ll make it new.”

The sumptuous, questioning ‘Heroic Materials’ is undeniably brilliant. Robin has laid his heart and soul, his whole being in fact, down as music. Emotive, melancholy at times, this record is a story and history at the same time. A plea for the future of the planet it may be but, above all, it is an immersive artistic triumph and one of the best releases of recent years.

Released 9th September, 2022.

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