Review – Flamborough Head – Jumping The Milestone – by John Wenlock-Smith

Flamborough Head is a rocky promontory that lies on the east coast of England between Filey and Bridlington. It is a chalky headland that reminds one of a sleeping dinosaur, it is also a walker’s haven and you can see seals at certain times of the year. We visited it last year and had a great couple of hours enjoying its natural beauty. At that time I was completely unaware of the existence of a band that had the same name, so the opportunity to listen and review this album was too good to pass up. Flamborough Head has been in existence for almost 34 years, being originally formed in Friesland in the Netherlands in 1990, they have been through several different incarnations and line ups, peppered with spells of inactivity over the years, and have produced ten albums during that time, mostly on the Cyclops label, then latterly on the Oskar label, on which we find this latest one, ‘Jumping The Milestone’.

The music the band create falls very firmly into the realm of symphonic progressive rock with excellent use of flute, keyboards and very fluid guitar solos. The band are fronted with the excellent soft vocals of Margriet Boomsma who also provides flute and recorders and Eddie Mulder who was the original guitarist but is now the bass player, with Hans Spitzen providing the guitar fireworks, aided by sublime keyboards from Edo Spanninga. Together they make a very good sound, everything a symphonic prog fan could want, expansive and intelligent with lots of interesting reference points. They combine the style of Marillion, Arena and IQ to great effect, there is much to recommend here.

The album has just six tracks, all are of an excellent standard with much happening musically within. I am reminded of Camel at times with the fabulous flute playing and the very lyrical guitar of Hans Spitzen, who makes every track shine.

The Garden Shed is about the joy of gardening and the benefits it can bring to one’s mental health and how, overal,l it can be of positive benefit, a most different sort of track but with good sentiments expressed within. Tomorrow Is Another Day is a further great track with a good opening section with great flute and a surging Hammond Organ playing throughout. The song is about depression and how it can haunt an individual, robbing them of joy in their life. This is all sensitively handled and in a positive manner and has a graceful guitar solo that really captures you as you listen. The song has good insight into fighting depression and some good advice too, I like that it is real and not patronising in its approach but sympathetic and hopeful too.

Start Of A Nightmare is an interesting track in its subject matter of an unwelcome intrusion and the prospect of injury at the hands of an unhinged, unwanted intruder. This is quite a different sort of song with lots of light and shade to depict the unfolding events making it most memorable with strong performances from each member and more great guitar to help carry the song along. The song expresses the lasting sense of unease that any unwanted intrusion can cause you and how unsettled you can be afterwards for a very long time. Fear Of Failure is about insecurity and how the fear of failure can really impact on one in a negative manner. Again, this is handled delicately and with sympathy and dignity. It’s about handling those feelings and facing them down, believing in yourself and the abilities you have. It talks about applying resilience to your situation and overcoming it for yourself, almost a self-help in reality. The music is very strong and supportive and the lyrics are excellent, making for a great song overall that’s very positive in its outlook.

Penultimate song Walls Of Words is about being left behind, overlooked and unappreciated by those around you. It is rather a sombre and maudlin piece but, once again, this is all handled very well, along with it being a well written and realised track with solid musicianship at its core, especially when the song leads to the suicide of the protagonist in the song. Final and longest song, Jumping The Milestone concludes this superb album. Opening with heavenly piano motif alongside an ethereal flute before Margaret’s delicate vocals begin, the track is about growing older and all the challenges that brings. This song handles its subject matter with great intelligence and good insight, it is a celebration of life as opposed to being rather a depressing slide into twilight. It reminds us all of the journey that is life, being one that we all have to undertake, it talks of the good things in life that we can all gather into our own storybook. This piece also tells us to be grateful that we can have these days in which we can age and that we should value these days. The song moves through different sections and movements with aplomb and style, lots of excellent guitar parts and sympathetic keyboard embellishments pepper the track insightfully. An epic for sure but it’s never a dull one at all, excellent guitar solos take the track forward in different directions, all of which are  strong.

This is a most interesting and tasteful album of deep emotion and content, extremely well presented and performed by an excellent and talented band. I can only but sing its praises to you and recommend that you listen to it, if you do then you won’t regret it.

Released 3rd November, 2022.

Order from bandcamp here:

Jumping The Milestone (CD) | Flamborough Head | OSKAR records (bandcamp.com)

Jethro Tull launch ‘The Navigators’; The Second Single From ‘RökFlöte’

Jethro Tull recently announced the release of their 23rd studio album, ‘RökFlöte’, on the 21st April 2023 via InsideOutMusic. Following 2022’s ‘The Zealot Gene’, the band’s first album in two decades, Ian Anderson and the band are returning with a 12-track record based on the characters and roles of some of the principle gods of the old Norse paganism, and at the same time exploring the ‘RökFlöte’ – rock flute – which Jethro Tull has made iconic. 

Today the band are pleased to launch the second single from the album, ‘The Navigators’. Appearing as a special single edit version, mixed by Bruce Soord (The Pineapple Thief), you can watch the video (created by Christian Rios) here:

The lyrics for this track explored the Norse god Njord, who was the god of wealth, fertility, the sea and seafaring.

Watch the previously released video for single ‘Ginnungagap’ here:

‘RökFlöte’ will be available on several different formats, including two limited deluxe formats that include bonus demo material, extensive liner notes & a blu-ray featuring Dolby Atmos, 5.1 surround sound, alternative stereo mixes by Bruce Soord (The Pineapple Thief), as well as a bonus track and in-depth interview with Ian Anderson. The album will also be available digitally in the spatial audio formats Dolby Atmos & Sony 360 RA. The full list of formats are below:

Ltd Deluxe Dark Red 2LP+2CD+Blu-ray Artbook incl. 2 x art-prints

Ltd Deluxe 2CD+Blu-ray Artbook

Special Edition CD Digipak

Gatefold 180g LP+LP-booklet

Digital Album

Take a closer look at the deluxe formats here: https://youtu.be/Eo-c325XwgA

Pre-order now here: https://jethrotullband.lnk.to/RokFlote

1.    Voluspo

2.    Ginnungagap

3.    Allfather

4.    The Feathered Consort

5.    Hammer On Hammer

6.    Wolf Unchained

7.    The Perfect One

8.    Trickster (And The Mistletoe)

9.    Cornucopia

10. The Navigators

11. Guardian’s Watch

12. Ithavoll

Ian explains the album’s title & theme in more detail: “The title of this offering went through a little change or two along the way. I started with the idea of a predominantly instrumental album for rock flute – as in rock music. When the subject material of the album presented itself, I was drawn to the term Ragnarök from Norse mythology – their version of apocalyptic end times or Biblical Armageddon. The “final showdown” scenario is ubiquitous and inherent in Hinduism, Christianity and Islam, for example. Ragnarök translates as “destiny of the Gods”, the rök part meaning destiny, course, direction. With umlaut firmly in place, courtesy of the Germanic origins of Old Norse, Flute became Flöte in keeping with the spelling. With me so far? I just can’t miss the glorious opportunity for a good and legitimate umlaut.”

Jethro Tull continue live dates this year, with shows in mainland Europe, as well as a newly announced headline date in London on the 23rd May to celebrate the new album release. They will also return to North America later this year, with the first show in Wolf Trap confirmed and more to be announced in the coming weeks. Find the full list of shows here: https://jethrotull.com/tour-dates/

‘The Zealot Gene’, released in January 2022, was Jethro Tull’s 22nd studio album and it garnered critical acclaim across the board. Reaching #9 in the UK album charts, a feat the band hadn’t reached since 1972, it also debuted at #4 in Germany, #3 in Switzerland, #5 in Austria, #8 in Finland, as well as top 10 in the US Album Charts, Current Album Charts and Rock Album Charts.

With more than 30 albums to their credit and sales totalling more than 60 million, Jethro Tull are one of the most successful rock bands of all-time with a catalogue that contains classics that still resonate today. Led by Ian Anderson, Tull still continue to tour throughout the world, entertaining audiences of all ages. 

The band consists of:

Ian Anderson – Concert and Alto flutes, Flute d’Amour,            

Irish whistle and vocals

David Goodier – Bass guitar

John O’Hara – Piano, keyboards and Hammond Organ

Scott Hammond – Drums.

Joe Parrish-James – Electric and acoustic guitars, mandolin  

Review – Magenta – The White Witch – A Symphonic Trilogy – by John Wenlock-Smith

I’ve been reviewing albums for over a decade or more now and I still really enjoy doing, hearing some amazing new music in the process. Progressive rock has rather a lot in common with classical music forms, lengthy pieces and the use of recurring motifs, themes and melodies being just a few to start with. Prog has courted classical music with differing degrees of success over the years from Deep Purple’s ‘Concerto for Group and Orchestra’ in 1969 to ELP’s version of ‘Pictures at an Exhibition’ in 1971 and Rick Wakeman’s quasi-classical epics, like ‘Journey to the Centre of the Earth’ and beyond through to ELO and so many more.

In all that time reviewing and commenting on the music before, I have never felt as puzzled and lost by what I was hearing as I am here with this album. I feel remarkably inept, unable and lacking any confidence with this album. I know many other reviewers have a far better understanding and appreciation of the classical than I do but, stil,l I’ll do what I can to unravel this rather interesting concept album from Magenta’s Robert Reed and crew.

‘The White Witch’ consists of three pieces, two of which have been revived from earlier Magenta albums, along with a newly commissioned piece of music. All three are linked by a common theme and also with a narrative from Les Penning, whose dulcet, measured tones open each piece of music.

The first piece is called Sacrifice and is about the time of the civil war and the plague that came four years into the war, devastating communities in the land. The music opens with a soft woodwind and strings before a bold brass fanfare leads to a classical guitar softly playing along with the lush vocals of Christina Booth. There is much beauty in her vocals, with touch of Kate Bush in places and the guitar from Chris Fry is excellent. Be aware the woodwinds that weave in and out of the music alongside sweeping violins and violas, good use of penny whistle and strong percussion embellishments. This is musically fascinating to listen to, you can hear how artfully composed this piece really is, with a really clear production that allows everything to breathe and leaves lots of space in the music. This sensitively handled with great skill and strength and really impressed me. The acoustic guitar really shines in this track playing with urgency and yet with delicacy, supporting and underpinning everything to create a masterful soundscape.

The album has it origins in two earlier recordings, namely their debut ‘Revolutions’ from 2001 and also ‘Seven’ from 2004 from which parts have been reimagined for this release. The theme of the album is benign witchcraft as practised by Sara, the main character of the album, and how she uses it for good rather than evil or harm. This in itself is an interesting concept and one that is developed especially well throughout the album with the third part, Survival, being an entirely new composition that concludes it all together well.

Part 2, Retribution, concerns itself with the defeat of the plague and the return of prejudice that is shown toward Sara and those who practise a different way of living. Emotions are stirred and the arrival of the witch finder general makes Sara fear for her life as the rise of intolerance emerges. It is this climate that begins the second part of the trilogy. Again, the music is lively with a strong folk type sound and a strident brass part that leads to Christina’s excellent vocals. This style of singing really suits her voice well and she excels here in this setting with lots of space for her voice to be clearly heard. The confess section of the song is actually rather delightful and almost cheerful to hear despite it somewhat dark subject matter. The track is well developed with more dexterous guitar lines from Chris that really evolve well. Sara pleads for light to guide her way and to allow her to reach new ways and new paths to follow that will help everyone get to a better place. The track ends with her treatise to the moon Luna to help her find her own way forward, the orchestrations in this section are especially sublime and sympathetic to the story.

Survival is the third part of the trilogy and talks of how Sara is leading the way to survival by doing new things in new ways and that how reaching out helps everyone. This is another excellent passage and the whole album is really quite gentle with no Bass or drums. Yet it is still a wonderful listen and repeated plays will reveal the hidden textures and treasures the album contains. It is all very much a soundtrack for an as yet unmade film or production. One can only wait and see what direction and indeed opportunities this album will afford the band. The album closes with a dignified flourish as we see Sara’s magic has worked, bringing peace and harmony back to her community, all’s well that ends well. This is a triumph for Mother Earth and the the album ends on a gentle guitar outro.

This album is not a simple listen and requires commitment to work with the music and to allow its delicate beauty to shine through. If you do this, you will find the reward of some great music, committed performances and a gentle tale told with style and commitment. Don’t be expecting rock rhythms and instrumentation, however but it is a richly orchestrated and well produced folk/classical hybrid with strong instrumentation and melodic themes and the glorious voice of Christina Booth aided by Chris Fry and Robert Reed. I may not return to this album often but I’m certainly glad to have fallen under its spell and charm, give it a listen for yourself and see what you think.

Released 31st October, 2022.

Order from Tigermoth Records here:

Magenta (tigermothshop.co.uk)

Review – Fluctus Quadratum – The First Wave – by John Wenlock-Smith

I first came across this band whilst browsing another prog website and reading a fellow reviewer’s comments about them. I went to the band’s website and downloaded the free track Portalis, a demo version. I was definitely taken with what I heard there, I contacted the band and asked if I could review the EP as well. Thankfully they agreed and sent me a download to work from with the promise of a physical copy to be sent to me. All of this whilst on holiday in the Canary Islands no less!

Oh the wonders of this modern technological age eh?

This EP consists of merely three tracks with the thirty six minutes of music introduced via Portalis, a song hinged on an really great guitar line with a great tone to it, strong bass lines from Mark Piercy and a syncopated drumbeat from Rick Burtonshaw that slithers around like a snake. There’s lots going on musically with great keyboards and that glorious guitar. A guitar and keyboard interplay section at the 4.05 mark catches the attention before Curtis Adamczyk’s vocals reconvene and a brief but soulful guitar solo leads to a strong keyboard section, all of this with very busy percussion syncopation happening simultaneously. The song, despite being nearly fifteen minutes in duration, moves through several different sections and parts and manages to impress throughout. There’s great performances from all involved, especially the fluid and supple guitar work of Alan Trower and Ben Ellis and sumptuous keys of Jopheus Burtonshaw (who also is responsible for acoustic guitars and writing the music, truly a man of many talents).

The shorter, seven minute, track Acquiescence II follows, which has many nods and throwbacks to 80’s music and also an element of electronic ambient soundscapes with some soaring guitar lines playing their part too. The song moves with a stately pace and with the hint of power and this all works together well, the track shimmering with suppressed energy. It’s a really strong track, the sort of thing Steven Wilson would offer. There is a particularly fine synth melody that takes the song forward and it all ends with strong organ sounds.

The EP closes with Convergence which, at nearly fourteen minutes in duration, is a bit of a monster of a track fuelled by a strong bass line and excellent piano, Curtis’ vocals also being very strong and interesting. The song has lots of keyboards and another fine guitar line with echoes of Pink Floyd, the guitar soaring over everything with great sustained notes and great fluidity. There is then a lute type stringed sound that impresses greatly before a return to the rippling piano lines and synths that dance across the track. I’d say that this track is possibly best heard on headphones or rather loud so you can pick up all the subtle touches and sounds contained within. The band deliver another really impressive track and I think anyone who is going to the Fusion festival in March are in for a real treat as I’m sure they will invariably be making a rather fine impact and impression. The keyboards really impress on this track, especially in the latter section, where an almost military drumbeat ushers in an exciting section where everyone is surging forward, the bass leading the charge strongly.

This is stirring stuff, simply fantastic and invigorating to hear such energy being played out in what is a really epic and strong rhythm. You can hear elements of Pink Floyd, Camel and Marillion here, Jopheous cites Mark Kelly as an influence, along with Keith Emerson, Rick Wakeman and Tony Banks, and it shows clearly here, although he puts his own stamp and style to the songs. The whole EP serves as a great introduction to what is a band of real promise and excitement and I personally can’t wait to hear their debut album when it emerges as, based on the promise of this EP, we can hope for something really fresh and inspired indeed.

Released 22nd November, 2022.

Order from the band’s website here:

Fluctus Quadratum – Store

Nine Skies release the first single from their forthcoming album (with Riccardo Romano on vocals) and launch preorders via crowd funding

French prog rock band Nine Skies release the first single from their forthcoming album (with Riccardo Romano on vocals) and launched preorders via a crowdfunding campaign. 

The album ‘The Lightmaker’ is due to be released in September 2023. So far, Marco Minnemann and Riccardo Romano have been announced as guests on the album. If you follow the band, you are used to their way to announce guests and news during the recording process and we can imagine more various announcements will follow.

You can preorder the album here, and benefit from exclusive rewards and options only available before the release:

Nine skies – the lightmaker (helloasso.com)

The Explorer (feat. Riccardo Romano) | Nine Skies (bandcamp.com)

The Lightmaker tells the story of Rudy, who is now living in 1001st and final life. 

The album retraces some of his existences through the view of several characters and the introspection of these various incarnations which undoubtedly encourage reflection on the human condition.

Heavy proggers HeKz return with new single ‘MAYDAY’ 

Hard-hitting rock with a progressive flair, featuring a lineup of international talent.

What life gives with one hand, it can take away with the other. How do you keep your head, and your heart, when everything starts to crumble around you?

HeKz evoke these feelings of chaos and
resilience with dramatic and intense performances on their new single ‘Mayday’ – the first release from the forthcoming double album ‘Terra Nova.’

An overdriven bass riff introduces the song and sets the tone for what will follow – the mesmerizing guitar work of Mark Bogert, the relentless drums of Moyano el Buffalo and the enchanting violin of special guest Lucia La Rezza, with the commanding voice of vocalist / bassist Matt Young leading the charge.

“‘Terra Nova’ is a concept album,” explains Young, “The elevator pitch for the story is along the lines of ‘running towards your ultimate goal won’t help you to outrun your demons, so find a different way.’ In the song ‘Mayday’ we find ourselves in a very challenging position. The song is about how we cope when our plans fail and, if everything is lost, you can go down fighting!”

On Lucia La Rezza’s contribution to the song, Young continues, “HeKz were invited to perform at the Hard Rock Hell festival in 2021. At the time, it wasn’t going to be possible for Irina [Markevich, violin] to join us for the concert, and Lucia came highly recommended. I was amazed to see her covers of Iron Maiden and Dragonforce songs, all played on the violin at full tilt!”

“Since the plan was to perform this music on stage together, we invited Lucia to contribute to a couple of the new songs. Unfortunately, the festival show was cancelled but I’m grateful we have this recorded collaboration. Lucia and Irina have very different approaches to the violin, and the music of ‘Terra Nova’ is all the richer for it.”

Written and recorded by the musicians in their home studios in the UK, Spain and the Netherlands, ‘Mayday’ was produced and mixed by Matt Young and mastered by Tom S. Ray (Audio Unity, Scotland). Artwork by Dmitris Tzortzis [Immensa Artis].

HeKz – Mayday [Official Video]

L-R – Lucia La Rezza, Mark Bogert, Moyano el Buffalo, Matt Young

Review – Unthank : Smith – Nowhere And Everywhere

Nowhere And Everywhere‘ is the debut album of Unthank : Smith, the collaboration of two former Mercury Music Prize nominees Rachel Unthank (The Unthanks) and Paul Smith (Maxïmo Park).

With ‘Nowhere And Everywhere‘ Unthank and Smith, both from England’s North East, and foremost talents in their respective fields, set out to collect songs and pen originals that claw at the beating heart of the region. Though Rachel Unthank has been immersed in the folk world from childhood, Paul Smith’s route towards folk began in his teens with a love of Martin Carthy, Karen Dalton, Nick Drake and Bert Jansch, especially their fingerstyle guitar-playing. Echoes of that approach can be heard throughout this album, albeit simplified and merged with a more direct sound akin to US avant-rock acolytes of the ‘60s folk revival like Gastr Del Sol and David Pajo.

The pair’s collaboration for the new project came about somewhat naturally as Rachel explains:

“Paul and I have discovered that we have so much in common. At the core of that is the genuine joy that singing brings us both. We also both have a deep-rooted connection to our native North East, as can be heard in our unfiltered accents, yet this rootedness gives us the appetite for outrospection. I can’t wait to get on the road and start singing together.”

Paul adds: “Rachel’s voice is a rare instrument, so to hear our voices blending together for the first time was a big moment for me. It hinted at new possibilities for me as a singer and musician.”

Co-produced by ‘David Brewis‘ of Field Music, Nowhere And Everywhere‘ features Faye MacCalman of emerging avant-jazz group Archipelago on clarinet, and exploratory drums by Bonnie ‘Prince’ Billy / Alasdair Roberts collaborator Alex Neilson, of Trembling Bells.

“There’s only three types of music, music I like, music I don’t like and music I haven’t heard yet…”

There is an almost irrational urge for all music to be separated into genres and then pigeon-holed as music that we won’t like because of the genre it is is in. A long time ago I realised that there is so much good music out there, brilliant music in fact, and it doesn’t matter what genre it takes, it’s either music I like or music I don’t like and, above all, this is all just my opinion and never, ever definitive. I will always listen to an album that I haven’t heard before once because, otherwise, how do I know if I like it or not?

Hence the name of this music blog is Progradar and the music I mainly review is progressive but it’s never only that, through friendships and recommendations I have been lucky enough to discover wonderful albums across all sorts of music genres and folk is one that I have a great fondness for. Folk music is like reading great historical novellas but reimagining them as songs, like the old bards and storytellers did in the years gone by and this new album from Unthank : Smith does just that and rather brilliantly too.

The opening, unaccompanied, Captain Bover just sends a tingle down your spine with its sparse grandeur, telling the story of feared Tyneside press gangs, the use of just vocals adds a dark reality to the song. Rachel and Paul have wonderfully distinctive voices that can carry a song with the need for any music and it works fantastically on this track. The Natural Urge, written by Paul Smith, was partly inspired by the bleak, gnarled landscapes depicted by Paul Nash in his role as an official WW1 artist. It’s a pared back masterpiece of a track, atmospheric, moody and haunting in its delivery. It is ultimately an anti-war song with a simple folk melody instilled by the uncomplicated guitar riff. Rachel wrote Seven Tears about the mythological ‘selkie’ creatures said to bob in Northumbrian waters. It builds elegantly with a brooding aura imbued by the music and Rachel and Paul’s almost spoken vocal delivery add a real mysterious, subdued feel.

Rachel said this about the track, “I have always loved the songs and ballads about selkies – a seal in the sea that takes off their sealskin and adopts human form on land. When doing some research about the selkie mythology, I read that if you cried seven tears into the sea, then your selkie lover would come back to you.

O’ Mary Will You Go is a more traditional affair with a truly humble vocal performance from the pair. The song addresses themes of economic migration that still ring true today and you can feel the loss and pain of parting and having to leave the land and the people that you love. It is a heartbreakingly wistful piece of music that will touch you to the core. I really enjoyed the love and pride that is at the core of What Maks Makems, derived from Tom Pickard’s poem in the ‘Land of Three Rivers’ anthology of North-East poetry, paying tribute to Wearside and its proud shipbuilding heritage, as well as Smith’s own “crick-neck welder” father. A reflective and wishful song, if all a bit brief. The unaccompanied brilliance returns with the gorgeous Red Wine Promises, the stunning folky harmonies are just exquisite. An impressive cover of a track that appeared on Lal and Mike Waterson’s brilliant ‘Bright Phoebus’ album, both Paul and Rachel have loved this song for many years and really do it justice here. Robert Kay is the melancholy, mournful story of a Stockton-On-Tees WW1 soldier who died days before his return from war. A solemn and yet tender treatment of a sad tale, Paul and Rachel’s vocals have real gravitas and the ghostly music leaves tendrils of sorrow in its wake.

Rachel brought Lord Bateman to the table after realising there weren’t any epic ballads in the duo’s fledgling repertoire and its Northumberland setting sealed the deal. A truly epic tale with touches of pastoral progressive rock in the vein of Big Big Train, it is my favourite track on the album and I find myself getting lost in its dark and ultimately tragic storyline. The vocals have a that medieval bard style to them and the untutored guitar-playing (Paul’s own words!) adds real authenticity. Horumarye conjures thoughts of the sound of the wind whistling over the moors and this earnest and solemn piece engenders a feel of isolation and wind blasted moorland and of weighty, overcast skies. The album closes with unaccompanied joy of The King, Rachel’s Dad was a founder member of Redcar Sword Dancers, who perform the revived Greatham Mummers play and longsword dance every year, and then head to the pub for a good sing. The King in the song is a wren, king of the birds on Saint Stephen’s Day, when the tradition was to hunt the tiny bird and take it house to house in a cage or box decorated in ribbons. It’s a simple and yet upbeat ending to what has been a truly magnificent album.

There’s too much instant gratification on offer nowadays, in all walks of life, including music but to completely enjoy this utterly compelling and masterful collection of stories, you have to delve deep into each song to understand its very soul. Anything truly worth having has to be worked for and when the reward is as truly joyous as ‘Nowhere And Everywhere’, it is completely worthwhile. A true music lover’s release and one that every music lover should own.

Released 17th February, 2023.

Order the album here:

Paul Smith Official Online Store : Merch, Music, Downloads & Clothing (tmstor.es)

Jay Schellen joins YES as a permanent member

YES are delighted to announce that drummer Jay Schellen has joined the band as a permanent member.  Following the sad passing of our iconic drummer, Alan White on 26th May 2022, Jay will fulfil Alan’s wishes in becoming the new drummer with YES.

Jay Schellen was Alan White’s choice to stand in during the Topographic Drama tour, in 2016, and shared drumming duties with him from 2018 onwards. Jay had previously played alongside YES’ keyboardist Geoff Downes and late bassist Chris Squire together with long working relationships with Alan and YES bass guitarist Billy Sherwood.  This gave Jay a deep insight into the workings of the dynamic rhythm section that drives YES’ music.

Steve Howe says “We’re all delighted to welcome Jay officially into the fold! He’s been a great support throughout the last seven years, and we couldn’t have found a better all round team player.”

I am thrilled to become the new drummer with YES,” says Jay. “I grew up playing along to YES records and I am proud to have worked so closely with my musical hero and great friend Alan White these past few years. I will strive to honour his memory as we drive towards the future with the band.”

Review – Caravela Escarlate – III – by John Wenlock Smith

This album represents modern Brazilian progressive music that looks back to the halcyon days of the 1970’s and it also reminds you of, well, everyone to be honest. So you can go either through this album and play spot the influence or you could just sit back and enjoy this great new release that does wear its influences on its sleeve for sure. But don’t they say that imitation is the greatest form of flattery or something like that?

The band are a three piece trio comprising of keyboards, bass and drums (sound familiar?). The keyboard player Ronaldo Rodriguez  is joined by multi-instrumentalist Davia Paiva  on bass guitar and vocals along with Elcio Cáfaro on drums and together these three make a tremendous sound, all three being very talented musicians who can play up  a storm. Their name, Caravela Escarlate, translates as Crimson Ship, an alien being from Sidereal space than can transform into its own means of transport, in this instance a ship. The music is 70’s style prog but with touches of Brazilian music this means most tracks swing along nicely, it is very heavily reliant on keyboards.

There are 7 tracks on the album with all but two being over 7 minutes in duration. I can detect lost of recognisable influences, and some less obvious ones like Greenslade, as well as Genesis and Kayak, along with ELP. The bass playing throughout the album is magnificent with an almost virtuoso style that really propels the track along. In tandem with the dazzling keyboards on display really, this is all very impressive and of an excellent standard.

In the opening salvo of Bússola do Tempo you get a prime slice of Emerson, Lake and Palmer in the best song ELP never recorded. This track hurtles along with a driving rhythm and great bass alongside the busy drums of Elcio Cáfaro. Castelos do Céu ploughs a path well trodden by any Canterbury based band you could think of, it has that type of sound almost whimsical at times and reminds one of early Caravan. With the vocal being in Portuguese, it is quite difficult to comprehend what is all about but it certainly sounds good musically, although my research shows several tracks refer to historical eras and phases.

Fifth track Cruz Da Ordem is the longest at over ten minutes duration, this is hinged on a busy bass line and lashings of Hammond Organ and synths. It makes for a gloriously over the top track with stunning bass and sympathetic keyboard sounds. Synths, organs and mellotrons abound on this album, it’s mostly instrumental and with all but one song in Portuguese, makes for a strange and different sort of album but a very impressive and compelling one nonetheless. An unusual album to listen to but one that mines a very rich vein extremely effectively and for that we should all be glad. Standouts for me being the opener and the epic fifth track Cruz Da Ordem, both of which make for highly memorable and impressive music for you to enjoy.

Of special note is just how damned brilliant bassist David Paiva is, he is a real tour de force without whom this music would be less dynamic for sure. His blending in and bonding as the rhythm section is sheer joy to behold, a definite star in the making. When you couple this to the explosive excellence of keyboard player Ronaldo Rodriguez you can tell their 12 year existence is time well spent to hone their skills to this level and hopefully, with the support of the Karisma label, bodes well for a very bright future indeed.

This album is most definitely a  grower and I very much look forward to hearing how this band develop from here going forward. All in all this album has proved to be a very rewarding listening experience for the braver prog fan. Maybe a slot at a fusion type festival could be a way forward, time will tell I guess. Either way it will be interesting to see their next steps forward.

Released January 27th, 2023.

Order the album from bandcamp here:

III | Caravela Escarlate (bandcamp.com)

HAKEN celebrate Valentine’s Day with new single ‘Lovebite’ 

Progressive rockers HAKEN are set to release their seventh studio album ‘Fauna’ on the 3rd March 2023, the group’s most genre-busting and conceptually fascinating album to date. 

Today, the band celebrate Valentine’s Day with the launch of their latest single ‘Lovebite’. 

Watch the video now here:

Pre-order the album or stream the track here: 

https://haken.lnk.to/Fauna

 Ross Jennings says this about the track:

“What better song to put out on this fine valentine’s day than one about the Black Widow Spider mating ritual… This is the Phil Collins inspired upbeat love song in 11/8 with Cannibal Corpse inspired lyrics that you never knew you needed!” 

Watch the previously released videos below.

 ‘Taurus’:

‘The Alphabet of Me’:

‘Nightingale’:

The tracklisting is as follows:

1.     Taurus 04:49

2.     Nightingale 07:24

3.     The Alphabet of Me 05:33

4.     Sempiternal Beings 08:23

5.     Beneath The White Rainbow 06:45

6.     Island In The Clouds 05:45

7.     Lovebite 03:49

8.     Elephants Never Forget 11:07

9.     Eyes Of Ebony 08:32 

‘Fauna’ will be available on several formats, including Ltd 2CD (incl. instrumentals), Standard CD, Gatefold 2LP & as Digital Album. The albums stunningly detailed artwork was created by Dan Goldsworthy (Charlie Griffiths, Sylosis)

Pre-order now here: https://haken.lnk.to/Fauna 

‘Fauna’ sees the band exploring new ideas conceptually as Ross continues. “The premise of the album when we started writing it was that every song would have an animal assigned to it. They all have something related to the animal kingdom that we could write about, but they also connect to the human world. Each track has layers, and some of them are more obvious than others.” 

“It reminds me of The Mountain,” adds guitarist and fellow founder Richard Henshall. “There, we had the idea of not really a narrative-based album, but more the concept of climbing a mountain and overcoming the obstacles along the way. Then we took that and thought about how it could relate to our everyday lives. All of Fauna’s animals relate to us, personally.” 

‘Fauna’ also marks the return of keyboard player Peter Jones, whose sounds can be heard permeating the entire album. “What Pete’s brought sonically to the band has played a massive role in why we do have a lot of new sounds on this record,” says Ross. “It’s always a new dynamic when there’s a change in personnel, and this is a fresh and reviving one. It’s certainly helped proximity-wise, with Pete being in the country: Pete and Ray [Hearne, Haken’s drummer] would be at Rich’s place and they’d just start jamming. That’s really key to how the songs start.”

The band have announced tour dates for North America and Europe.

Find the full list of tour dates here: https://hakenmusic.com/tour/

HAKEN are:

Ross Jennings

Richard Henshall

Charlie Griffiths

Pete Jones

Conner Green

Ray Hearne