Look At You Now will be released on September 8th via InsideOutMusic
New Single “The Dream” premieres today!
Pre-Order Look At You Now!
Prog Rock legends The Flower Kings have announced their return with their 16th studio album Look At You Now, out on September 8th. Nearing 30 years as a band, the group once again embraces vintage vibes and the warm, inviting sounds reminiscent of legendary and classic 70’s albums. Look At You Now is a stunning collection that will transport you to a bygone era of rock with swirling synths & guitars and thematic long-form pieces.
“The Dream” their newest song can be listened to HERE.
Roine comments on the new single: “The Dream”- our new single is actually created from a real-life dream – I woke up from a dream before 6 one morning – remembering the melody and main vocal idea – so I got up, turned on my music ’studio’ and laid down the basic chord and melody of it – singing bare-bones lyrics – just to be sure to remember it.
This song is about hope for a better world – came from a dream. Sometimes you get a feel for something that might be “important” – like your subconscious telling you what to do. Once we got to pick songs for the album both Michael and Hasse were insisting this anthem was an important song that need be on this album. We’ll see if they’re right.”
“So, to sum up, if you like to challenge yourself and you are prepared to move out of your comfort zone when it comes to your listening pleasure, you really ought to let If Not If into your life. It may not be for you but, if we didn’t challenge ourselves and expand our horizons, we’d still be lighting fires with sticks and living in the stone age!”
That was my conclusion of the two EP releases from Graeme Ginsberg, released under the artist name of If Not If, in late 2021. It was music that really made you think and was all the better for it. Fast forward to June, 2023 and Graeme released the follow up, ‘Structure’ and I was lucky enough to be asked if I would like to review it.
Structure is a collection of 12 instrumental tracks — progressive rock, with classic rock and jazz-rock fusion in the mix. There are nods to artists such as Pink Floyd, Phish, Led Zeppelin, Yes, King Crimson, Porcupine Tree, Jeff Beck, Pat Metheny and John Scofield, but essentially this is a refreshing collection of original pieces that are as inventive and uncompromising as they are familiar.
Graeme thought that this album would be more accessible than the previous two EP’s and I have to agree with him, only to a point though. What I loved about the first two releases, that dissonance and originality, is still there, sometimes front and centre and sometimes bubbling under the surface but the creativity has been ramped up a notch.
Illusion Part – II: Start is all bluesy, hard edged and very reminiscent of Robert Fripp but played over a 70’s rock riff that Jimmy Page would have been proud of, it’s a superb track that has its origins way back in 2001. This segues immediately into Illusion – Part II: Daydream which has a more laid back feel, almost like a psychedelic Beach Boys meeting Andy Summers in a very weird dream! The flowing, spaced out solo is genius and there’s a definite feel of Rush/Genesis in there too. Illusion – Part III: Second Wind ramps up the psychedelia considerably with echoing, intermittent guitars firing shots across a Sci-Fi backdrop, it’s all incredibly cool and stylish without trying to be, if that makes any sense. The Illusion Suite concludes with Illusion – Part IV: The Looking Glass, a piece of music that could be the ever so classy soundtrack to a really hip art school movie. It has a calming effect, the elegant bass pedal and polished guitar are just so smooth and edifying, the synths an ode to the best of 70’s pastoral prog and there’s another fine guitar solo that has you nodding in appreciation. This is intellectual music that just leaves you totally relaxed and enjoying every note, perfectly composed and beautifully delivered.
Curious Architecture could see Steven Wilson pricking up his ears with its early Porcupine Tree connotations and its serious, knowing edge. There’s a slow, brooding energy to the track, a pulsating, industrial rhythm that draws you in, it’s all deliciously dark and a delight to listen to, especially when the wonderfully fluid guitar kicks in. With the ‘Hard Boiled’ trilogy, Graeme was collaborating with a superb, well-known jazz-rock fusion bassist, but he had a tragedy in the family and couldn’t complete the very complex parts. Graeme was thinking of delaying release of the album but took the position to leave it as is, first because he thinks “Part II” is great and full-sounding as it is with the guitars and keyboard, and then also he thinks “Part I” and “Part III” stand up well as an intense guitar-drum duet, with strong melodic content without the bass. Hard Boiled – Part I: Fusion In A Bar is all smoky, bar room, jazz to begin with before everything goes left field with some rather cutting prog fusion breaking loose, it’s all very intense and in your face and I love it. Hard Boiled – Part II: Progression is an intense, mysterious listen with a funky guitar riff that has your feet itching to dance, add in the discordant keyboards and guitar solo that could only have come out of a feverish mind and you have the epitome of experimental jazz/prog fusion. I have to say it again, it’s not for everyone but, if you get it, you will absolutely love it. The intensity of the ‘Hard Boiled’ trilogy is broken up by Time On My Hands, an intricate solo guitar piece very reminiscent of Pat Metheny and one that has the feel of clever improvisation to it. Hard BoiledPart III: Conclusion is as intense as the other two parts, the guitar almost talking to you while the drums pound out a complex rhythm, it’s all quite intoxicating in its own way.
Vegas Nights is a perky, funky jazz/fusion piece that builds layers of earthy creativity into a spontaneous feeling piece of music that feels really alive and crackling with energy. That Reminds Me has fast paced, percussive opening that leads into a vibrant bass line and staccato guitar note to deliver something that wouldn’t be amiss at a recent King Crimson gig when the band just decide to improvise and have fun. The album closes with the wonderfully nostalgic feeling Weightless (Somewhere On The Road To Recovery), a short, contemplative piece of wistful synth and piano that leaves you in a thoughtful, uplifting mood.
We spend too much time rushing around in modern life, it doesn’t give us time to stop and appreciate our lives and surroundings. What ‘Structure’ shows us is that, if you just sit down and give yourself time to listen to evocative, thoughtful and sometimes challenging music, you will appreciate and enjoy it much, much more. Graeme Ginsberg, with his If Not If project, creates music that challenges us in many ways, challenges our conceptions of music even and, to me, that is a rare and wonderful thing because, when you come out of the other side, you realise your life may be just a little bit better for the experience.
Another World is out on September 4th – Pre-order begins today!
Southern Empire recently announced the new album, Another World, due out on September 4th, 2023 on GEP Records. It’s been five years since their last offering ‘Civilisation’ made such a big impression on the music press and fans alike and now the band have again created a masterpiece of musicianship and production.
Today, the band share the second single from the album. Watch the video for “Hold On To me” here:
Sean Timms had this to say about the new single: “From the very moment Cam Blokland, our exceptional guitarist, strummed the opening chords of ‘Hold On To Me,’ I was filled with the certainty that we had stumbled upon something extraordinary – one of the finest songs we would ever record.
The sheer brilliance of Cam’s lead vocals, complemented by the mesmerizing backing vocals from Shaun Holton, our new front man and rhythm guitarist, left an indelible mark on my mind. As the last note faded away, I knew ‘Hold On To Me’ wasn’t just another track; it was destined to be a hit.
The emotional depth and captivating melodies woven into the song have an undeniable power to linger in the hearts of listeners long after the music stops. ‘Hold On To Me’ is an unforgettable masterpiece that showcases the immense talent and chemistry of our band.”
Tracklisting: 1. Reaching Out (4:17) 2. Face The Dawn (12:45) 3. Hold On To Me (6:31) 4. When You Return (6:20) 5. Moving Through Tomorrow (10:23) 6. White Shadows (19:23) 7. Butterfly (4:25)
Shaun Holton – Lead and Backing Vocals Cam Blokland – Electric and Acoustic Guitars, Lead and Backing Vocals Jez Martin – Fretted and Fretless Bass Brody Green – Drums, Hand Percussion, Backing Vocals Sean Timms – Keyboards, Programming, Lap Steel Guitar, Backing Vocals
I spend a fair amount of my free time trawling the internet, now that I am retired, streaming music and checking favourite websites, mainly prog related ones, taking a note of the general chatter and recommendations folks make there. All of which helps keep me informed of what’s happening in the world of prog, I hardly ever post my own recommendations though, quite why, I’m not really sure, but, as my listening tastes vary daily from 70’s classic rock to as yet unreleased music, I would find recommending music hard and possibly biased.
Whilst trawling recently I came across Wakefield based prog act Materialeyes and decided to check them out via bandcamp. I listened to their earlier album, ‘Three of aKind’, which piqued my interest enough to contact Martyn Hawes and ask about the upcoming album release, ‘Inside Out’. Martin kindly sent me the album with a view to me reviewing it for Progradar and its my pleasure to be able to do this. I am always impressed by the quality of the releases you can find on bandcamp, I also like that funds go mostly to the artists directly, especially on bandcamp Fridays, which is even better for all concerned.
Well I’m glad to report that this a most interesting and rewarding release, whilst it may only has five tracks, it is an album of quality material starting with the solid opening track This World, that is about how we are hurting the world with our actions. The song begins with a chunky guitar chord and is followed by some glorious swathes of keyboards and a flute solo from Dave Westmoreland. It oozes pastoral progressive rock in the vein of Barclay James Harvest, that is a very worthy band to be compared to and Materialeyes do not disappoint either. There is a lot of layers to this track, Woody Wolstenholme would be proud hearing this strong song with it’s excellent style and good dynamics. Second track, Eric UponTweed, is a tale of a lad called Eric who finds himself removed from his family for attacking his drunken father, after seeing how he mistreat his mother. She arranges safe exit for Eric to his aunt’s in Berwick-upon-Tweed. This has distinct traces of Genesis’ style of storytelling, especially those with a social conscience to them. The story ends with Eric’s first sexual encounter in Berwick-upon-Tweed and latterly some words of praise from his dying father with whom there is a degree of reconciliation at the end. The tale is musically very rich with a great guitar line playing throughout and a great vocal from Martyn.
Longship is a maudlin and atmospheric track about Vikings returning to their homeland, the haunting sound being made by Will using his Ebow to create the haunting melodies. This melancholic piece has another great vocal from Dave, it is short but very moving and memorable indeed, a great track. Horsemen is inspired by the 1921 silent film The Four Horsemen Of The Apocalypse and starts with an acoustic guitar before prominent bass and keyboards join in. This is another longer track with room for expansive soundscapes, flute and synths, there are also western films referenced throughout. The track has echoes of the softer moments of Wishbone Ash’s Argus initially but soon becomes more strident, I really like this track and the panoramic soundscape it uses, it is a very well written, conceived and delivered piece of progressive music. The added length gives space for the music to unfold in the piece, additionally, the use of good dynamics really make a good impression, as does the fine bass playing from Martyn Howe, especially in the middle section. It makes this all the more rewarding to listen to, as does the fine guitar work from Dave Westmoreland and you can definitely hear the ‘Argus’ influence here.
Clay Man is the last and longest track of the album and was inspired by a heavy Wensleydale cheese eating session! The song is interesting, it’s subject matter a bit weird and dark in tone. It is mostly instrumental but with a few words, more music than words in fact and has more prominent bass alongside acoustic guitar and keyboards. It also has handclaps and what sounds like foot stomping and other syncopation, the song is one that builds in its intensity, which makes for interesting listening. A slower section with ethereal voices follows before the vocal of WillLawery, who also provides excellent guitar on the whole album. The words seem to be about a man who has seen much pain and horror in the world and is traumatised by it all, hence the sad nature of the track.
Well that’s it, you are left wanting more of this fine music and I’d recommend checking out their back catalogue as it has some great music available there. Hopefully they have a bright future, if they continue to make music of such an excellent calibre. ‘Inside Out’ is a most rewarding release and more than worthy of investigation if you can. I think you will like it a lot, there is much to enjoy, especially if you like more pastoral prog like BJH.
Something Ominous will be released on the 15th September (InsideOutMusic) / Touring Europe with SOEN in September/October.
Album pre-order begins today!
French/Irish alternative rock-metal outfit MOLYBARON, known for their energetic, hard-hitting sound, will release their new album Something Ominous on September 15th on InsideOutMusic/Sony Music. The announcement of the new album comes following the success of the recent single and video “Something Ominous.”
Over the course of two subtly radical records, 2017’s self-titled debut and 2021’s acclaimed The Mutiny, this eclectic quartet have casually bent and broken all the usual rules of modern heaviness.
In 2023, they return with their third and most fervently diverse record to date, Something Ominous: further evidence that MOLYBARON are operating in a field of precisely one.
When MOLYBARON released The Mutiny in 2021, the world was still reeling from the effects of a global pandemic. Nonetheless, the album struck its mark with ease, garnering countless glowing reviews and comparisons to the likes of System Of A Down, Tool and Muse. Two years on, Something Ominous reveals a band that have sharpened their focus and found their groove. Comprising ten succinct and characterful songs, which range from thunderous acts of aggression to noirish, mutant balladry, MOLYBARON’s third full-length is invigorating and immersive in equal measure.
“I don’t think our sound can be defined by one genre,” says guitarist/vocalist Gary Kelly .“It’s certainly not by design. I write and produce all the music in the band, but I’m strange – I never really listen to music. I have no idea what’s hot or what’s not these days. I suppose this makes it easier for me to create songs, I’m not trying to mirror any one style, I just write as it comes to me, probably based on what I hear floating in the ether; in the cinema, on the TV, on the elevator, it really doesn’t matter!”
MOLYBARON are also pleased to share the second single from the album.
You can check out the lyric video for “Breakdown” here:
“Breakdown” is a heavy, pop-tinged track, with lyrics conveying the struggle of a mind on the edge of collapse, capturing a sense of isolation, confusion, and vulnerability that accompanies these dark moments. A rousing, emotional mix of melodies, driven by aggressive guitar riffs, crushing bass, and electronic synth-scapes, “Breakdown” is invigorating and immersive in equal measure.
The album is available for pre-order now here:
https://molybaron.lnk.to/SomethingOminous
Tracklisting:
1 Something Ominous 4:07
2 Set Alight 3:26
3 Billion Dollar Shakedown 3:39
4 Breakdown 3:17
5 Anyway 4:15
6 Daylight Dies In Darkness 4:07
7 Dead On Arrival 3:22
8 Pendulum 3:35
9 Reality Show 4:18
10 Vampires 3:46
SOMETHING OMINOUS comes as CD in sleeve pack, 180g black LP in 12’’ inch vinyl sleeve and digital album.
Check out the video for the previous single “Something Ominous” here:
In addition, MOLBYARON will support SOEN on their upcoming MEMORIAL TOUR 2023 in Europe, starting September 20th:
Formed in Paris, early 2015, by Dublin-born singer/guitarist Gary Kelly, MOLYBARON have become one of the most talked-about bands in the modern metal scene.
Fusing together elements of alt rock, hard rock, and modern metal to create an eclectic, sonically dynamic experience, MOLYBARON deliver an intensely raw, original musical signature, appealing to fans across the genres.
Retreat from Moscow return in 2023 with their second album ‘Dreams, Myths and Machines’, the album follows on from the January 2021 release of their superb debut album ‘The World As We Knew It’, a record that was 40 years in the making.
‘Dreams, Myths and Machines‘ was forged over the past three years by original band members John Harris (guitar, vocals, keyboards and flute), Andrew Raymond (keyboards), Tony Lewis (bass) and Greg Haver (drums and percussion) with special guests Robin Armstrong of Cosmograf, Andy Tillison of The Tangent, Pete Kirby of Skylines and American vocalist Jillian Slade.
The album draws on themes of Welsh and Greek mythology, dystopian futures, social anxiety and colonial whitewashing and had a complex gestation during 2021 and 2022, with Haver recording behind the closed borders of New Zealand. With co-producer Clint Murphy (Enter Shikari, Thunder, Two Year Break) at the helm, the album was created in a variety of recording environments, including the legendary Rockfield studios in Wales. The band and team have taken their time and embraced varying themes, while pushing the boundaries of their extended compositions, adding to their musical lexicon.
“Retreat From Moscow’s first album ‘The World As We Knew It’ was the band looking back to our early days at the turn of the 1980’s, retracing our youth and memories through the songs. ‘Dreams, Myths and Machines’ is the band embracing our present and the lives we’ve led”, says New Zealand based drummer Greg Haver. “The new album is an exciting blend of stories past and present framed within the RFM prog rock soundscape” explains the band’s vocalist and guitarist, John Harris.
There’s a definite feel of 80’s Marillion about this release along with hints of the classy, educated pop/rock of It Bites, a superb coalition of sounds that delivers the band’s own inimitable sound, if you’ve heard the band’s debut release then you will recognise this immediately. In John Harris they have a very distinctive vocalist, his voice is all soul and gravelly, whisky soaked vowels at times and I, for one, really like it.
When writing long songs, you really have to be skilled to make sure there are no lulls or pointless sections just to extend the length of the track and Retreat From Moscow are real masters of this. From the upbeat, lush tones of opener Saving California with its driving guitar and rhythm section and the swirling keyboards and high energy feel of Flowerbride, there’s an instant connection with this release. It harks back to the time when music was heard in analogue and you waited for the Top 40 on the radio (or Top Of The Pops if you were lucky enough to won a TV!) to hear the best music and, if you were old enough (or not, if the case may be!), you would actually venture out and hear music live! This album is the sound of nostalgia to me, maybe I’m showing my age but I love it.
As most of you know, I’m an avid runner so a song with the title of Running Man is going to appeal, even before I’ve heard it! This short and punchy song is dynamic and melodic in equal measure with superb keyboards and elegant guitar and the bass and rums of rhythm section Tony Lewis and Greg Haver are rock solid. Things get more intricate with the sombre I Can Hear You Calling, an emotive track where Jillian Slade shines as the foil to John’s ever impressive voice. It’s a song full of sentiment and barely held back sorrow but there’s beauty in even the darkest of subjects and this piece of music delivers like watching the rain fall while sat in front of a warming fire. Windchill sees the appearance of Robin Armstrong whose wonderfully fluid and intensely passionate guitar adds layers of warmth and sentiment to a gorgeously wistful and poignant song. As I get further into this superb release I am ever more impressed by the skill on show and the eloquent songwriting and it is completely evident on this exquisite track.
Time is really flying and yet we’re only half way into this immersive album, the laid back intro to Time Traveller almost leaving you in a musical vacuum as the soundscape touches your synapses before John’s edgy guitar kicks in along with harmonised vocals. It’s all very 80’s and done incredibly well. I’ve mentioned nostalgia before and the wistful feeling that this thoughtful music engenders really does take me back to a time where everything felt much simpler to deal with. It’s easy to just lose yourself in the music, especially the very Floyd-esque section half way through the song. The Machine Stops is, perhaps, my favourite track on the album (although I do keep changing my mind as they are all so good!), it’s soulful and inventive and features one of the most innovative keyboard players alive today in Andy Tillison and he delivers one of his trademark solos here, as well as organ embellishments. The song itself builds gradually, layer by layer, inviting you in to the creative process and enveloping you in its warm musical embrace. This insightful musical journey ebbs and flows and is never less than engaging, especially when it reaches a crescendo and goes firing off on all its metaphorical (keyboard infused) cylinders. When progressive music is as good as this, it really doesn’t get any better and I could listen to tracks like this all day.
Oh yes, we are going right back to the heyday of 80’s neo-prog with the highly enjoyable Assassin’s Cloak, a track that would have graced any album from the prog luminaries of that age but, more importantly, one that’s bang up to date in production qualities and delivery. To me, it’s one of the highlights of what is already a highly impressive release. With superb vocals, potent musicianship and energetic enthusiasm to spare, it really is a magnificent romp. The album closes with the electronic edge of DNA, a thoughtful, penetrating and astute homage to the discovery of the chains of human existence. With its measured, metronomic rhythm laid down perfectly by Tony and Greg, Andrew’s delightful keys and John’s stylish guitar and vocals, this is progressive rock at its most penetrating, add in the voice over from Drew Berry and we really have something very special here.
What was that saying about difficult second albums? Well, with ‘Dreams, Myths and Machines’, Retreat From Moscow have totally debunked that myth. Intelligent, insightful and thoughtful and sprinkled with progressive rock stardust, it is a wonderfully immersive listen. There you go, in this case, nostalgia definitely IS what it used to be!
Founded by vocalist/songwriter Mark “Truey” Trueack (United Progressive Fraternity) and multi-instrumentalist Sean Timms (Southern Empire,Damanek, UPF) in 1996, Australian progressive fusion Unitopia have always been among the most renowned and distinctive bands of their ilk and era. Now the band is pleased to announce the new studio album Seven Chambers, due out on August 25th, 2023.
Unitopia has undoubtedly reached new creative, emotional, and intellectual heights with their latest opus, Seven Chambers (their first original collection on independent label Progrock.com’s Essentials). Comprised of seven tracks and lasting just over eighty minutes, it’s an incredible journey that finds Unitopiareturning at the peak of their artistic and technical prowess.
Plus, multiple color variations are available for the physical versions, as well as a special vinyl edition that features a die-cut cover revealing a portion of the sleeve behind it!
Tracklist: 1. “Broken Heart” (8:30) 2. “Something Invisible” (6:39) 3. “Bittersweet” (7:20) 4. “Mania” (12:29) 5. “The Stroke of Midnight” (9:38) 6. “Helen” (19:14) 7. “The Uncertain” (18:33)
As the follow-up to 2010’s Artificial and 2012’s Covered Mirror Vol. 1 – Smooth as Silk (a superb assortment of classic/prog rock reinterpretations), Seven Chambers is Unitopia’s first new outing in over a decade. During the interim, each member kept busy with various other projects, and according to Progrock.com‘s Essentials’ Mark Monforti, the method of getting the group going again was endearingly fortuitous:
“A few years ago, Steve Hackett was exploring studios and players for a show in Australia, and he contacted Timms about using the studio that he and Truey still owned. That got Sean and Truey talking about possibly working on new music together. Then, I reached out to them about doing some shows. They went exceedingly well, which sort of solidified the fact that Unitopia needed to come back.”
With Timms and Trueack reunited, the duo decided to expand Unitopia by bringing in fellow UPF maestro SteveUnruh, guitarist Dr. John Greenwood, drummer Chester Thompson (Frank Zappa, Weather Report, Genesis) and bassist Alphonso Johnson (Weather Report, Santana, David Gilmour).
Seven Chambers is a globe-spanning effort that began in 2021, with virtually every member working in their own studio in either America or Australia. Although things got off to a strong start, a few unexpected hiccups somewhat impeded the band’s headway.
“Progress was severely interrupted by Sean’s other commitments, such as moving into a renovated house and being in-demand with other projects and festivals. Then, Truey and Chester faced personal hardships. At more than one stage, it looked like the record might never happen. Luckily, the delays led to a few solo projects blossoming, and suddenly, our schedules began clearing in early 2023 and we began moving at a real pace again,” SteveUnruhexplains.
Thus, Seven Chambers is truly a testament to Unitopia’s chemistry and commitment, not only because it sees them triumphing over those setbacks but because it ended up being roughly twice as long as the original 40-minute plan (without a moment of filler!)
The band already have a few dates lined up which you can see here:
2023 Tour Dates: 3 Sept. – 2Days Prog + 1, Veruno Novara, Italy 5 Sept. – Konzertfabrik Z7, Pratteln, Switzerland 9 Sept. – Neuberinhaus, Reichenbach im Vogtland, Germany 13 Sept. – Colos-Saal, Aschaffenburg, Germany 14 Sept. – Poppodium Boerderij, Zoetermeer, Netherlands 15 Sept. – Chez Paulette Pub Rock, Pagney derrière Barine, France 8 Oct. – ProgStock, Rutherford, New Jersey, USA
Unitopia: Mark “Truey” Trueack – vocals, songwriting Sean Timms – songwriting, keyboards, backing vocals, various stringed instruments Steve Unruh – songwriting, backing vocals, violin, flute, rhythm guitars, mandolin John Greenwood – songwriting, backing vocals, lead electric guitar, nylon-strung guitar, 6 and 12-string acoustic guitars, mandolin, programmed orchestration Chester Thompson – drums Alphonso Johnson – bass
Following a life training as a Plastic Surgeon and practicing as a Burn Surgeon and Director of the Adult Burn Centre of the Royal Adelaide Hospital. retirement has finally allowed John Greenwood to pursue some musical dreams.
Just prior to retiring, he met Mark Trueack who had been pointed his way by JimmyKeegan (not that one), a very long-time friend of John’s and the guitarist in Trueack’s fledgling UPF Acoustic. Following a hand-injury, and unable to play, Keegan suggested that John might be interested. After a few rehearsals with UPF Acoustic, Trueack introduced John to Sean Timms, suggesting a rekindling of Unitopia and a studio album based on ailments suffered by the band’s members. At this stage, Sean helped John establish his own home studio.
John began to record a series of solo tracks (some with themes he composed as a teenager, and some completely new). The songs quickly divided into two camps; those about man’s inhumanity to man, governmental choosing of economy over citizens and even the health of the planet (DARK). The others focussed on sadness due to various forms of loss (physical, experiential, personal – BLUE). He added into that group his cover of what he considers the ultimate song of loss, Tony Banks’ Afterglow.
His ‘Dark Blue’ album features several family members (Wife, Helen, provided the inspiration and lyrics for A Proper Song; Daughter, Emma, sings on Rosco and The Ocean as well as playing the introductory ‘cello on the latter; Son, Sam, plays the Grand piano piece in The Ocean, whilst Sam’s wife Sarah plays violins on Too Late!, Too Late! Reprise and The Ocean whilst her sister Nicola plays flute on the same tracks). John’s brother-in-law, Andrew Fanning, helped with lyrics for Too Late! and The Ocean, whilst the daughter of a work colleague of John’s, Kirstin Damkat, spoke the child’s soliloquy.
A school friend of John’s (Andrew Rowland) provided all the artwork. Sean Timms added additional keyboards and some great sound effects, and a number of drummers were involved (international artist CraigBlundell and local drummers, Ben Todd and Mike Giuffreda). Sean drafted in NickSinclair to replace John’s bass on Rosco and Julian Ferraretto to play gypsy violin on Packin’ my Suitcase. Other than that, it’s all John on vocals, all guitars, most of the bass guitars, keyboards and orchestration.
So there is a really extensive introduction to John Greenwood’s solo album and, do you know what?, ‘Dark Blue’ has to be one of the most truly progressive albums I’ve heard this year. At times it is like musical theatre, bombastic, orchestral overtures and idiosyncratic, over the top, vocals and, at others, it is just utterly sublime, wistful and beautiful music with ethereal vocals (check out John’s daughter, Emma, on the epic The Ocean) but it never fails to captivate and engross you in it’s lengthy sixty-nine minute running time.
You’ve read about the supporting cast that helped to make this wonderful release, I mean Craig Blundell for god’s sake!, but this is John’s creation, 100% and his sureness of touch and songwriting genius can be felt in every word and note. If you’re a fan of Unitopia and UPF then you can feel the slight influences on the album and that is a good thing, the expansive music and thought provoking subject matter are cleverly integrated into this amazing creation.
The epic A Little Piece of Rosco Vidal is progressive rock at its finest, a build up of musical intensity, intricate melodies, fine vocals and music that is both cerebral and emotive, superb! The trio of Too Late!, Too Late! Reprise and The Ocean stray boldly into the territory of musical theatre where the elegant vocals of both John and Emma could grace any West End stage but it’s blended perfectly with fine progressive sensibilities to almost create its own identity and check out the wondrous violin and flute, just beautiful.
The passionate, powerful duo of Requiem and Heartless add some meat to the bones (John’s vocal on the latter is dynamic and vibrant) and the almost singer/songwriter vibe of Inside is powerfully moving. The whimsical, bluesy humour of Packin’ My Suitcase shows John’s humorous side with the gypsy violin of Julian Ferraretto the archetypal twinkle in the eye and there’s a simple splendour to The Kiss with Nick Magnus’ impressive orchestration.
John’s version of Afterglow, the moving track originally By Tony Banks, is just sublime and won’t leave a dry eye in the house and this sublime album closes with the fantastic A Proper Song, reminiscent of Wish You Were Here. Pared back acoustic guitar and elegant vocals along with Hammond Organ ( you’ve got to have a Hammond!) deliver a consummate listening experience and when the electric guitar solo kicks in, it’s just heaven!
It’s not often we hear a truly progressive release nowadays but, almost from out of nowhere, John Greenwood has entered the fray with one of the finest releases of 2023. The musicianship and songwriting are top notch and, like all the best albums, I find this on almost permanent rotation, it is, to put it simply, utterly superb!
Derek Sherinian is a fine creative and accomplished keyboard player who’s CV includes stints with Kiss, Alice Cooper and Billy Idol, to name but three. He was also a member of Dream Theater and has made eight solo albums, which are usually made in tandem with Simon Phillips, who has an even more impressive CV, with the likes of Judas Piest, Jeff Beck and, latterly, Toto. Simon also had his own group, Protocol, who have released five albums thus far in a similar fusion type style.
Derek and Simon both share a love of fusion, which mixes jazz and rock elements together in a shimmering stew of musical chops. Normally Derek uses a whole slew of well know guitarists, which is definitely interesting, especially as he tends to play a more supportive role rather than be keyboard heavy and laden. He is very much a team player, whose aim is for the music to be the star rather than his own chops. Simon is of a similar persuasion and he is content to be a solid rock from which others can soar!
Well that is certainly the case here, this album features four good musicians who have played together previously and enjoy each others company and playing. The band is Derek Sherinian (keyboards), Simon Phillips (drums), Ron “Bumblefoot”Thal (two necked guitar) and Ric Fierabracci (bass). These four can definitely play up a veritable storm, this album was recorded at The Grape in Ventura, California on August 29th, 2022 and this live album is the result of that rather unique show.
The album has eleven tracks, three taken from ‘The Vortex’, three from ‘The Phoenix’, one from ‘Inertia’ and one from ‘Mythology’ . Of the two additional tracks, Barnacus is a drum solo from Simon Phillips.
Most of these tracks replicate their studio incarnations without really adding very much or varying from what was originally created. Which kind of begs the question ‘Why?’, what is the point of all this? Ye, its all very listenable, technically accomplished and exciting but it is ultimately one that falls short by offering nothing very new or different to what is already known and already available. Also, I think they missed an opportunity to include the filming that took place that evening, as that would be a good addition and offer some added value to this album.
The music that is here is excellent extremely well recorded and delivered but, for the reasons stated, probably won’t get heavy rotation with me because, much as I like Derek’s music, on this occasion I wanted something more. What is different, I suppose, is that these four musicians are replicating parts played by others, like TheVortex, which ŵas recorded with Steve Stevens on guitar and Tony Franklin on bass. Here those parts are played to perfection by Ron “Bumblefoot” Thal and RicFierabracci respectively. This makes it interesting to compare the versions also, live, it is very slightly longer in length, although what the additional sixteen seconds are is not easily ascertainable, I guess it could be at the start of the track with the crowd noise?
Empyrean Sky gives opportunities for Derek to really lay down some strong Hammond Organ tones, which he does remarkably well, and his interplay with Bumblefoot is exciting, if a tad brief. In fact several of these tracks would have benefitted from a more expansive time to allow further improvisation and room to explore the material more fully. Temple of Helios is another example of where extension would have greatly improved the track. This truncation is frustrating when a band as talented as the guys are are held back and unnecessarily restrained from really letting fly.
Whether there were time constraints or something else is not clear and I guess we’ll never know but, aside from that, this album deserves more than it delivers, it’s good, whereas it could have been so much more, it is a real missed opportunity by Inside Out.
Still, what is here is very good, I just wish it was either a double CD or had a DVD of the events with rehearsals and interviews and other extras added for completeness. So, again, my question is Why?
After a 5 year hiatus, the award-winning Beatrix Players are back with a brand new eight piece line up and an intriguing new concept album.
The band’s sophomore album ‘Living & Alive’ will be available digitally from 22nd Sep 2023 and, for fans of vinyl and cd, it can be pre-ordered now from Burning Shed with a limited edition of just 500 copies pressed on coloured vinyl.
Founding member, writer and vocalist, Amy Birks is joined on the album by her co-writers from the original Beatrix Players line-up, Helena Dove, and guitarist TomManning. Also joining this expanded group are doyen of progressive music, flautist John Hackett, guitarist Oliver Day (That Joe Payne, Yes Please), drummer AndrewBooker (Tim Bowness) and storied cellist Jane Fenton (LSO, LCO, RPO, Britten Ensemble etc). Pianist Matthew Lumb and bassist Kyle Welch complete the on-stage octet.
A trio incarnation of the band released the band’s debut album, ‘Magnified’ in March 2017 and they went on to appear as special guests on UK dates with artists such as Steve Harley, Carl Palmer and Big Big Train. In October 2017 they performed two songs at Prog Magazine’s star-studded annual awards event at London’s Globe Theatre and walked away with the best newcomer prize.
With that line-up on permanent hiatus Amy subsequently released two well received solo albums in 2020 and 2022 and picked up Best Female Vocalist award at the 2018 Prog Awards before recruiting a third iteration of Beatrix Players leading to the recording of this brand new album.
So that’s the story behind the creation of the album, let’s dig a bit deeper, shall we…
“Take time it’s your life, What a beautiful life it could be…”
Great music has the ability to stir emotions and create small oasis of calm and beautiful solitude and ever since I heard ‘Magnified’, I have been hooked on what Amy Birks (on her solo releases) and Beatrix Players can create. Beautiful, wistful and ethereal music that is passionate and emotive in equal measure and that is just intensified on this new release.
Birks says, “Living & Alive is an honest album, that explores how life isn’t just about living, but that it’s about having the courage to really be alive and own it. Simply put; you are your best you, and will only ever be second best if you’re trying to be something other than you…“
And Amy is right, there is a raw honesty to the music, a sparsity that is delicate and graceful to songs like Snowflakes, the charming track that opens the album much in the chamber-prog style of the debut album but this group of musicians, and AmyBirks in particular, have matured and have additional facets to their music and songwriting.
“There’s no such thing as an ordinary moment, There’s never nothing going on, There’s never such a day as clear as the day that’s too late, Too late and lacking of any conviction…”
Somebody Else’s Eyes is dominated by the haunting cello of Jane Fenton, painfully melancholy and alluring in its delivery. Oliver Day’s gorgeous playing adds a layer of sophistication to the music and Amy’s vocals are touching and plaintive. This is music that just bleeds emotion in every word and every note. There’s an insistent, almost off-kilter feel to This Is Your Life, implicit in the vocals that hit home with every word. A song with sharp edges among the charm and wonder.
“This is your life and there’s no one to blame, No matter how hard it gets…”
The music has a real bluesy feel to it, John Hackett’s flute flowing jauntily and Oliver’s pin sharp guitar really hitting home along with the superb cello, a rather pleasing track indeed.
Starts Again arrives with a jaunty atmosphere, created by the fantastic musicianship and Oliver’s laid back guitar. Another thoughtful track about how a relationship that’s going astray may work if only we could start again. The delightful chorus and relaxed mood give a feel of a sophisticated folk song with added layers of inventiveness, especially with that impish flute…
“And I doubted many a night, With your eyes poised to strike, And your tongue cut like a knife, It’s just no way to live life…”
Amy co-wrote A Beautiful Lie with John Hackett, a song about a relationship that’s run its course but we’re still living ‘A Beautiful Lie’. Gorgeously simple and shimmering with restrained intensity, there’s an uncomplicated honesty to the song and Jane’s pensive cello adds a touch of elegant sorrow to proceedings. A wonderful, if sad song that will really touch you.
“Dam your love and dam the water, Hold it back to keep control, Dam your love and dam the water, Until the day you overflow…”
Another somber track, Overflow carries on the pared back and less-is-more feel where the vocals add to the tension and pent up emotion. The music works in tandem with the vocals to add a wall of delicious sound, adding to the suspense and apprehension. Purgatory has a really serious tone, dealing with the mental abuse of a child but done in a very sympathetic manner. Amy is not afraid with dealing with contentious subjects and the beauty of the song even adds to the gravitas of the situation.
“Why can’ t you just smile, And wish me well, But you can’t hit a nail, Where it won’t go…”
Painful and yet hauntingly beautiful, there’s a solemn tale at the core of You Can’t Hit A Nail. A melancholy song that bleeds wistful sorrow from the flute and cello and where the vocal performance could have come straight from the stage of a West End musical. Sorrowful and even bitter, why do sad songs say so much? Fragile, poignant and yet, ultimately uplifting, Free has a feeling of emotional release in its heartfelt lyrics and superbly pared back music, just listen to the brilliant guitar playing and the inspiring close to this elegant song.
“There’s a clock ticking inside of me, And it won’t leave me alone, And it’s joined by a friend, my conscience, And it owns my body and soul, And it keeps on beating along to the sound of Me, I Am Me…”
This insightful, charismatic musical journey is brought to a close with the superb Me, I Am Me, bringing the story around full circle. An assertive vocal mirrors the lyrical content and the music has an almost classical feel to it. Powerful, affectional and heartwarming, this song is making a personal statement and one that is delivered with confidence. It is the perfect close to the album.
Beatrix Players return triumphant with the mesmerising ‘Living & Alive’, a collection of songs that are bewitching and compelling and leave you in no doubt of their stature in the music industry of today. The sublime voice of Amy Birks and outstanding musicianship on show have created one of the most outstanding releases of 2023 and one that should be on your list of must buy albums, it really is that good!
