Month: September 2023

Mariusz Duda Unveils New Album ‘AFR AI D’, Out November 17th Via Kscope

Riverside mastermind Mariusz Duda returns with fourth solo album ‘AFR AI D’ out November 17th via Kscope. 

Mariusz Duda has always been fascinated by the telling of a story, idea or concept.

Whereas on previous album ‘Lockdown Trilogy’, Mariusz Duda wanted to capture a snapshot of life during the pandemic the renown progressive mastermind, this time explores the concept of AI as disruptor. His new solo record looks at the growing commodification of AI and specifically with artificial intelligence entering the mainstream.

Using the notion of ChatGPT and Midjourney and the increasing use of deep fakes as a springboard, ‘AFR AI D’ explores these interesting and forward thinking theories musically just as much as it does conceptually.

Unveiling ‘AFR AI D’ first single ‘Embracing The Unknown’ the track is the longest composition on the album and a fitting representative. The changing musical moods and rhythm are characteristic not only of the new album but of all Mariusz Duda music released under his own name.

“I’m happy I can continue this instrumental electronic music journey,” says Duda.

“I love these evocative sounds. Contrary to what the title of the album suggests, I am not afraid of new technologies. I think AI is just another tool which, over time, we will learn to use in a better way, and which will speed up work in many areas. In spite of a slight subconscious fear of the unknown, I am ready to embrace the future :)”

He’s also shared a video for first single  ‘Embracing The Unknown’ which you can view now: 

The album opens with the ominous sounds of the aptly titled ‘Taming Nightmares’ acting as a musical signpost to this new dawn of machine learning. It’s followed by Interstellar nod of ‘Fake Me Deep, Murf’ and later by the TRON like ‘Mid Journey To Freedom’.

Off the back of ‘Bots’ Party’ we move into the emotive arpeggios of ‘I Love To Chat With You’ that whisks you straight into the mind of Theodore Twombly falling for an operating system. The album later ends on the cold and unfeeling introspection of ‘Embracing The Unknown’.

In a world where truth is often camouflaged by deception the electronic heartbeat of ‘AFR AI D’ can never lie. Or can it?

AFR AI D’ Track listing:  

1. Taming Nightmares [07:20] 

 2. Good Morning Fearmongering [05:14]  

3. Fake Me Deep, Murf [04:48] 

4. Bots’ Party [05:00]  

5. I Love To Chat With You [03:43] 

6. Why So Serious, Cassandra? [04:56] 

7. Mid Journey To Freedom [03:08]  

8. Embracing The Unknown [08:00] 

German artist and illustrator Hajo Müller (Steven Wilson) appears once again carrying on the legacy of Mariusz Duda’s artwork as the two have collaborated throughout Mariusz’s solo album career. Mariusz also performs all instruments throughout the album except for guitar solos performed by Mateusz Owczarek 

‘AFR AI D’ was recorded throughout May and June 2023 at Serakos Studio in Warszawa, with engineering by Magda and Robert Srzedniccy and mastered by Robert Szydło.

The album is available in a variety of formats that include LP, Magenta LP, CD and Digital. 

Pre-order HERE (https://MariuszDudaKscope.lnk.to/AFR_AI_D)

About Mariusz Duda:

Mariusz Duda is a Polish musician, songwriter, vocalist and multi-instrumentalist. The leader of the progressive rock band Riverside, and the founder of the solo project Lunatic Soul. His musical interests span from rock and metal, through pop and folk, to electronic and ambient music.

Review – Tiger Moth Tales – The Turning Of The World – by John Wenlock-Smith

This October sees the release of this latest album from Tiger Moth Tales which is, of course, the moniker under which multi-instrumentalist Peter Jones operates and releases his own music. Peter is a highly respected and regarded musician who also fronts Red Bazar as keyboardist and vocalist while also doing the same for Cyan and, more recently, Camel. He is also a member of Francis Dunnery’s It Bites and, in addition, Peter also has a dedicated following and has performed several Mothster parties as warm ups to Big Big Train shows (usually in London at venues near to where the BBT shows are taking place.)

All this is pretty remarkable, especially when you consider that Peter is totally blind and yet still strives to create new music, usually labouring by multi-tracking and mixing using an old 8-track recorder. His music really is a labour of love for him, it must take him a long time to get the sounds he envisages in his mind on tape when recording, but this he does and then shares these fruits of his labours with the world.

‘The Turning Of The World’ follows a different tack to earlier Tiger Moth Tales‘ albums in that it was composed mostly on acoustic guitar and, whilst this lends a softer tone to proceedings, it is abundantly clear who it is performing this music such is the uniqueness of Peter’s voice and the sound is easily recognisable as  a Tiger Moth Tales release.  

For this album Peter is in a fairly upbeat mood and it is clear that Peter, once again, is in a happy place and this comes across in the more personal, and even intimate, songs about friendships, family, love and life, several of which are autobiographical in their lyrics.

Proceedings commences with a short scene-setting instrumental, The Getaway, that  represents the madness, discord and overall business of the modern world in which we live in a post-covid age. The album’s first proper song, per se, is The Turning Of The World which concerns itself with Peter’s fear that, with the world being in the state it is, revolution is on the cards, although whether Peter’s fears are justified or merely baseless is as yet unknown. Peter is concerned about how a victory would look and how its winners would behave, this song makes good use of a melodica to make the song sound plaintive. This is in complete contrast, in terms of emotions, to So Wonderful To Be Alive, which is a composite of childhood memories that Peter holds dear. This song name-checks his grandparents fondly and the adventures they shared together, it also talks of Peter’s teenage years. The track is hinged on a fine acoustic riff, played with the style and progresses onto Peter’s memories of a very happy wedding day with his wife, Kimberly. He sings with real love, gratitude and fondness for her presence in his life. This is followed by the albums longest track, The Snail, The Horse And The River, which concerns itself with using nature to look at how you are feeling. This is possibly mindfulness in practice as Peter says it represents three instances where looking at nature really helped his mood. The first was as a child when a beloved pet had died and Peter felt a Snail moving beneath his fingers helped him to be able to move onward. The second was an interaction with a horse. Peter has a timbre that has tones of Peter Gabriel, his voice is rich, warm, gentle and mellow, it is quite remarkable in fact, there is also good use of a zither alongside the melodica.

Try is about perseverance, resilience or, as we used to call it, gumption! The ability to keep trying and carry carrying on with something, this is a clarion call to keep trying and is a lesson we can all learn from, I think! We’ll Remember is a song that is written about the unexpected and sudden death of David Longdon of Big Big Train with whom Peter recorded a version of Spectral Morning that was recorded in 2015 in aid of The Parkinson’s Society. When the sad news of David’s death was announced, Peter wrote this song in response and, to help him work out his emotions, he bought in Rob Reed and Christina Booth of Magenta to assist him in this touching tribute. Pass It On has another taste of the smooth sound and is again based of his memories of people who have passed on. This song mentions some of those folk, and how we should pass on the kindnesses we have received to others. The Good People Of Munchwald recalls the positive memories that Peter has of a house concert that he was invited to play at in Muchwald in Germany and the friends he made and excellent hospitality that he and his wife received whilst there.

You reached for My Hand is a very personal song, one that details the time that Peter’s father was in hospital and held his hand for support. Thankfully his father made a full recovery but this tender song recounts that time. The Lock Keeper is  ostentatiously about a lock keeper but, in actuality, it is about The March Of Progress and how, in that quest, skills are being lost, never to be replaced and how this, in effect, can make the world a poorer place as a result. It’s very interesting and realistic song that really makes good use of that softer toned. The track has a lively sax and melodica section to it but, for me the song doesn’t really go anywhere special. This is definitely not the case with the last song of the album, All I Need Today, which begins with open guitar chords and sounds not unlike Genesis’ more acoustic moments. The track has underlying keyboards and what sounds like a clarinet but is actually the returning melodica playing and makes for a very full sound. It is a warm song and Peter expresses how his wife and marriage help him to realise the good things he has in his life, in part because of her presence. It is a positive and touching note on which the album concludes.

This is a very different type of Tiger Moth Tales‘ album but its deep subject matter and its thoughtful words and sentiments are actually very worthy and act as a good counterpoint to the downbeat ‘Whispering Of The Wind’ of 2020. Whilst this album has some darker songs there is a prevailing sense of gratitude and warmth within and around these songs, which are a bit more direct emotionally.

It is good to hear Peter singing these songs as, from the heart, this emotionally direct approach pays rich dividends here indeed. I’m pretty sure that Peter’s next album will see him return to the style we have come to know and love but for now he asks us to embrace this different and yet deeply compelling album. Different? Yes, Enjoyable still? Definitely! Embrace it now, I think you will enjoy it if you do.

Released 6th October, 2023.

Pre-order the album from White Knight Records here:

Tiger Moth Tales (whiteknightshop2.co.uk)

Review – Psychoyogi – Brand New Face – by John Wenlock-Smith

Psychoyogi are a band who hail from London and who describe themselves as ‘left field, punk jazz’ and their music as being a diverse mixture of instrumental colours, melodies and words. Their songs offer current social and political critique alongside personal moments, which is a way of saying that they are a little different and, possibly, an acquired taste for many. I personally like them a lot but I can understand why some would struggle to get the drift.

In Chris Ramsing they have a talented and imaginative guitarist and vocalist who has a different view of the modern world and feels strongly that persons who upset the apple cart should be held accountable. One thing that will definitely assist in getting to the heart of this album are the very clever and intelligent lyrics for the songs which can be found on the band’s website:

PsychoYogi Leftfield punk jazz

So, what this latest album all about? First, the details, ten tracks in total and an approximate forty-two minute duration. The five band members are Chris Ramsing (Guitar and Vocal), Izzy Stylish (Bass), Justin Casey (Drums) , Toby Nowell (Sax and Trumpet), Ben Woodbine- Craft (Violin) and there is a guest, Tim Smart from The Specials who provides trombone, all of which makes for a great sounding album.

The album opens with Destitution, which is about the gulf between the have and the have not’s, i.e. the rich and the poor. In the lyrics there is the call for a redress of the balance, which isn’t on the cards for the foreseeable future but at least the opinion is clearly stated here. Musically this song fuses Zappa-ish guitar along with trumpet and violin to create a pleasing soundscape. In fact, the interaction between the brass and the strings is very fine indeed, a different but pleasing sound that lends itself well to the music being played. I am reminded of 80’s jazz outfit Working Week who took a similar musical approach. Arts and Farces is about creating art and the issues that raises in being true to yourself. Again the brass is sympathetic and supportive and makes for a lovely track. The Process opens with a languid and sneaking guitar line, which is supplemented by that excellent brass section once again. Even I can find the music of Psychoyogi challenging at times but I am also very aware of its ability to stay in your mind for days, usually it’s a little melody of line that achieves this effect. The track itself is about the relentless onslaught of change that is all around us. Whether we like it or not, we are all caught up in the endless march onward, all in the name of progress There is a great section where the use of percussion interludes marry up with the guitar to create some moments of almost peace and serenity before everything gallops forwards once more, a most interesting song indeed.

A Happier Song actually isn’t that happy at all, rather it, once again, points out the disparity in today’s society. It’s a common theme for Psychoyogi and makes their music that rare beast, intelligent but also unafraid to challenge and question, which I feel adds to its validity. Hence the left field punk tag, as wasn’t that what the punks were trying to do in the late 70’s? We then have The Chase, nothing to do with the quiz show but rather more of an instrumental that allows the violin to perform a longer part and take centre stage There are parts that almost sound like a Celtic jig with brass interjections playing in harmony. The drums are mostly using deft touches and brushes rather than powering ahead, this is a very welcome change and allows the musicians to really showcase their imagination imagination and skills. All this make this the album’s standout track thus far for me as it is very musical with great performances from all parties. The album’s title track, Brand New Face, has interesting and questioning lyrics, there is a lovely trumpet part that leads to a brief flurry of Chris’ guitar, a real flight of fancy. There is also a brilliant recurring guitar motif the underpins the track and makes it yet another impressive song that definitely gets the thumbs up from me.

We are then on the final stretch home for the album with Opportunity, Everything Before and Open Season. These three songs continue the questioning and challenging nature of the band again to good effect, showing that Psychoyogi’s music is never less than interesting, difficult, uneasy listening for sure, but still wholly worthwhile. The final track, Find Peace Within, is superb, again brass heavy but not overpowered. It has a slinkiness to it that greatly appeals. This song is about coping with modern life and urges us to find peace within when all around us is tumultuous, again worthy sentiments for sure but, possibly not always within our grasp!

My verdict on this very clever release is, if you like quirky, intelligent and questioning music then this new Psychoyogi album might just be your thing. I liked it for sure, especially the fabulous interaction between the guitar, violin, trombone and trumpet that all meld into a truly glorious sound.

Released September 29, 2023.

Order from bandcamp here:

Brand New Face | PsychoYogi (bandcamp.com)

Review – Duncan Parsons – I’m Here, All Weak – by John Wenlock-Smith

I don’t know how these musicians manage to do all this, Duncan Parsons is not only the drummer for the John Hackett Band, he is also the bass player for author Joanne Harris‘ Storytime project, along with which he is a composer of his own musical journey bridging progressive music and mixing it up with elements of jazz, funk, ambient and whatever else takes his fancy! All that is before his main work role of software development for GForce Software where he recreates classic analogue keyboards for the digital age, specialising in Mellotrons and String Machines, quite an impressive C.V. really!

In the midst of this activity he has self released six solo albums, mainly via bandcamp. This new release is actually a compilation of those albums and it is an eclectic selection of music ranging from story song Ladybird through to the flute led J: Oi!, which features both the Hackett brothers, John and Steve, along with Nick Fletcher and Gary Boyle and a spoken piece from Bill Bruford, a grand collection of prog luminaries gathered in one glorious piece of music.

F: lower is another imaginative track in which Pink Floyd tones meet Canterbury whimsy and it all ends with John Hackett and Nick Fletcher doing what they do so well, I just wish it were much longer! Furry Leaves will most probably make you smile with its simple well known melody(Fleur De Lis) being developed well, with some fiery guitar from Nick Fletcher really hitting the mark and the more you hear J: Oi!, the more you realise how excellent a track it is. Lavender Rose is also an interesting track, mixing funk and progressive in a new style but all done with taste and aplomb. The Last Mango In Powys takes an approach of mixing ambient electro-folk, like the Penguin Cafe Orchestra, in space to create something both minimalist and also rewarding at the same time.

Variety is definitely the space of life for Duncan on this collection, his voice may be an acquired taste for some (not to me, I love it) but his imagination and how he applies it to this music is certainly not in question. He is truly progressive in his approach and thinking and whilst this doesn’t always make this a straightforward easy listening experience, it is one that will refresh parts that other prog musicians daren’t venture to explore, which I think validates the bravery Duncan exhibits so well. He is not afraid to try new things and new ways of working. I personally feel his way of approaching and applying his musical vision bears great fruit, the performances are good and the guests all contribute worthwhile ideas in their parts and, overall, make this 17 track album a highly interesting and very well realised set of songs.

This Day benefits from the sultry clarinet of John Helliwell, whose touch is delicate, profound and captivating, all at the same time. This track is an edit from his album ‘On Earth As It Is’. Also worthy of note is the almost mariachi style of Gonville, with Raul D’Oliveria’s trumpet leading the way over a sumptuous background of bass and synth sounds, all very sprightly and impressive sounding. Duncan’s willingness to reinvent during this album is very refreshing and appealing, he is one that likes to reimagine and re-envision his own music, thus retaining its freshness for him. This is very laudable and few would be so bold and for this we should applaud him and recognise his efforts to this end.

I for one find this release one that will given space in your music collection with very rich dividends indeed. I admire its balance of thoughtfully considered songs and its sympathetic use of guest musicians, whose touch greatly enhances these efforts of Duncan’s. The booklet is informative and gives a fine insight into what the music is about. I think that all this makes this a very worthwhile listen and I commend it and, indeed, all of Duncan’s music to you as you find within it all a plethora of wonder and imagination. It’s a collection very fine music indeed, everything from folk to funk, via jazz, ambient and even classical. Minimalist ideas abound and there is truly something for every taste, so why not check it out for yourself? You might thank me for the recommendation!

Released 6th October, 2023.

Order from bandcamp here:

I’m Here, All Weak | Duncan Parsons (bandcamp.com)

Review – Steve Anderson – Journeyman’s Progress Part One – by John Wenlock-Smith

Steve Anderson is one of the founding members of The Room and is also a part of Grey Lady Down and Sphere3, ‘Journeyman’s Progress Part One’ is his first solo album and explores his musical ideas from a completely blank canvas. This release is naturally guitar focused with the instrument taking centre stage but Steve also provides good bass work and keyboard support throughout the whole eleven tracks, which range from acoustic sketches and interludes through to the epic title track.

It all begins with a brief acoustic moment, Solus, which is swiftly followed by Coda which introduces Steve’s electric guitar lines as they slot over a delicate keyboard sound. This is a very melodious sounding track with a strong organ sound that gives way to a more up-tempo section alongside a solid beat, taking the track forward, an exciting part, the pacing steady and well thought through. This allows space for the guitar to stretch out a little which is done in great style. A Glimpse Of Light opens with a gentle acoustic guitar and great playing that delights, as does the sensitive backing supporting and enriching the track. The piece moves along most satisfyingly, it is a good track with lots of imagination at work. Hellebore is an acoustic vignette, almost like a track from the likes of Will Ackerman or similar. This is followed by the further short soundscape of Circlet which is suitably imagined and engaging.

The percussion sounds that open Mr Mekano are contained within angular and jagged riffing which creates an atmosphere of unease. It is certainly a bit darker sounding in tone, a good bass part runs through this track and when the sound breaks out into a harder sounding and jarring rhythmic section, one cannot fail but to be impressed by its sheer musicality that really captures something special. This then morphs into Descent, which definitely has a feel of going down that is conveyed by the music. The tone is almost bleak sounding, well it conveys that feeling to me, and the low bass part adds depth to help reinforce the sentiment. All in all, it is a most impressive track and guitar effects add to the mood. For Nancy is much lighter and was written for Steve’s wife. This piece is both joyful and also beautifully realised, it conveys warmth and contentment and satisfaction in its brief running time. Glass Quartet returns us again to the percussive sounds, similar to clocks but that are actually wine glasses being hit with wooden skewers. The First Step sees Steve getting all ambient and using synths to create a track that could easily be used for a science fiction film, with its nods to Blade Runner and Jean-Michel Jarre really hitting the mark. It is a most interesting track, very well delivered and imaginative in its scope and ambitions. The Title track Journeyman’s Progress concludes the album with its extended ten minute running time that allows space for its many sections to emerge fully, from acoustic to full flights of electric guitar passages, it is a very good track indeed. I especially like the use of counterpoint harmony where the keyboards soar over the main melody and how the build up for the extensive guitar segment is introduced, and subsequently delivered, all with very solid backing. It really is a glorious section of the track, the synths really take this track to great heights, it is most satisfying to hear the degree of craftsmanship that has gone into making this music.

Nothing here overstays it’s welcome in addition the variety of styles and approaches utilised throughout help to create a very solid and engaging sound palette. The whole album is served up in a classy looking package which includes some intriguing artwork from Ruby Anderson and a good logo design that would look equally as fine on a T Shirt. Additionally the album was mixed and mastered by The Tangent’s Andy Tillison (a man who certainly knows how to do these things) exceedingly well and to a very high standard.

‘Journeyman’s Progress Part One’ has many hidden charms and many fine musical passages and, overall, the album has a great flow to it as it moves through its many moods and emotions. The music has some most excellent dynamics that enliven and highlight the excellence of the compositions, I think it a very well realised musical statement and I urge you to check it out for yourself as it’s definitely one worth seeking out!

Released 4th February, 2022.

Order from bandcamp here:

▶︎ Journeyman’s Progress Part One | Journeyman’s Progress (bandcamp.com)