2018’s Top Ten Albums – Part 1 – Progradar’s Picks

So, it’s that time of year where us journos pick our top albums of the year. It’s been another stellar year for new releases and there have been some absolutely wonderful albums that have crossed our paths here at Progradar.

Both myself and James R. Turner will give you our selections and we are starting with mine. The first nine can be taken in any order but the final album is my definitive top release of 2018!

Haken – Vector

The prog-metal trend setters returned with their most visceral and intense offering yet. Just over 40 minutes of powerful, bruising music with a definitive melodic edge that saw Ross Jennings at his powerful best as a vocalist. 

Not everyone’s cup of tea but to most ears, mine included, Haken delivered one of the sonic experiences of the year!

Haken – Puzzle Box

Order the album here: https://haken.lnk.to/Vector

Kingcrow – The Persistence

The masters of Italian prog-metal released their most complete album yet. 10 lovingly crafted compositions of raw, unfiltered emotion that took the band’s bass, heavy roots and built on that foundation to deliver a stand out release of maturity and gravitas.

Kingcrow explored and developed their sound to become, as band member Diego Cafolla explains in the band’s press release, ‘a dark ambient, more modern vibe’ that fits beautifully with their existing heavy rock persona.

Kingcrow – The Persistence


https://lasersedge.bandcamp.com/album/the-persistence

Riversea – The Tide

The long awaited second album from Riversea, the on/off musical project of my good friends Marc Atkinson and Brendan Eyre.

There’s been some good music released this year already and also some utterly outstanding albums and ‘The Tide’ definitely falls into the latter category. Marc and Brendan have lovingly crafted twelve pieces of music that come together to create a release of beauty and refinement and one that will stay in your heart for a very long time. It’s not just music, this is something that is actually life-affirming and I can’t give it higher praise than that.

Riversea – Shine


http://riversea-band.com/?page_id=129

Talitha Rise – An Abandoned Orchard House

Following on from the beautiful EP ‘Blue’, Talitha Rise released her debut full length album ‘An Abandoned Orchid House’ on June 1st. It is a release full of captivating, wistful songs wound around themes of isolation and abandonment.

In my humble opinion everybody needs music to complete their life, to give you a reason to get up every morning and go out to work and Talitha Rise has delivered one of those perfect moments in time, an album of songs of such rare quality, delivered by the most wonderful voice, that stands out like a ray of light in the darkening world that increasingly surrounds us. My music loving friends it just doesn’t get any better than this!

Talitha Rise – The Lake


https://www.talitharise.com/store.html
Lux Terminus – The Courage To Be

Well, what can I say, it really does take something special to get me waxing lyrical about a new release nowadays but ‘Courage To Be’ is one of those rare albums that excites and inspires from the first listen but that will also have the longevity to keep you listening to it in many months to come. Virtuoso musicianship along with intelligent, involving songwriting, Lux Terminus have surely seen the light of the tunnel with this utterly captivating release.

Lux Terminus – Electrocommunion

https://luxterminus.bandcamp.com/releases

Riverside – Wasteland

One cannot truly appreciate the light unless one has first walked in the dark. We talk of the light at the end of the tunnel, you see this through the dark and it is the ultimate goal, you must, however, travel through the dark to reach the light.

Simply put ‘Wasteland’ is two things, a triumph of the light over the dark and a fitting tribute to Piotr Grudziński (Riverside’s guitarist who died suddenly). A compelling and engrossing musical journey through darkness, grief and loss to emerge into the light. A spiritual catharsis that sees a new chapter in the life of Riverside and puts them back at the forefront where they truly belong.

Riverside – Vale Of Tears


https://burningshed.com/tag/Riverside
Glass Hammer – Chronomonaut

Albums like ‘Chronomonaut’ are the reason why I love music so much and it has become part of my life. It sees a band I love unafraid to take a relatively new direction, organically progressive if you like. While not completely straying from their roots, Glass Hammer have taken a path less trodden and delivered what is, without a doubt, their best album yet and a fantastic new direction of power, precision and downright soul.

Glass Hammer – Melancholy Holiday


http://glasshammer.com/official-store/
The Tangent – Proxy

‘Proxy’ is a joyous celebration of music, done in The Tangent’sinimitable style. It’s an album that truly bears repeated listens, I’m sure Andy has left little chestnuts and references in there for people to pick up on. What we’re hearing is a true progression of the band’s sound that, while keeping what has always made them who they are, now resonates even more clearly with the world we live in. Music to make you think and music to lift your soul, what more can you ask for?

The Tangent – A Case Of Misplaced Optimism


https://www.thetangent.org/
Oak – False Memory Archive

I have loved music for many years, it has been with me through the highs and the lows  and my life would not be complete without it. My life is now also complete with this incredible album from Oak. Albums like ‘False Memory Archive’ are the reason that music was created in the first place, they bring peace to your soul and joy and love to your heart and the world is a better place for them. I cannot give any higher praise than that.

Oak – We, the Drowned


https://oakinoslo.bandcamp.com/album/false-memory-archive

And so to what is my number one, favourite album of 2018. I don’t think it will come as any surprise to most of you that I have gone with this incredible release…

Southern Empire – Civilisation

Truly cementing themseleves as Progressive Rock’s Kings of Pomp and Circumstance, Southern Empire returned with their sophomore release. Four songs that are brim full of emotion, joy and pizzazz, all delivered with true Antipodean swagger, verve and joie de vivre.

‘Civilisation’ was one of the early contenders for album of the year for me, one first listen it was a tremendous release that hit all the right notes and finally saw joy and elation return to the creation of music. It’s as close to a must buy as anything else I’ve heard this year so far. Right, that’s it, I’m off for another listen…

The band cemented their place at the top of my list with an incredible live performance as this year’s HRH Prog in North Wales, proving that they are even better live than on record. They brought the tracks to life and added another dimension.

Southern Empire are very worthy winners of my album of the year award and are already working on album 3. I, for one, just cannot wait!

Southern Empire – Goliath’s Moon


https://www.gep.co.uk/store/southern-empire-c-1_5/southern-empire-civilisation-p-32.html

So that’s my choices, please keep an eye out for James’ selection which will be up shortly!

HRH Prog 7 at Hafan y Môr Holiday Park in Pwllheli – by James R Turner with input from Progradar

This was my first HRH Prog, and I gleefully loaded up my car with the requisite supplies (Bottled water, Bottled Beer) and entertainment for the journey (the new Sheridan Smith album – it’s rather brilliant btw, the new Robyn CD, the latest Gryphon album and Chas n Dave the EMI years) and set off on the long trek from Bristol to North Wales.

I drove through some wonderfully evocative countryside, (which I saw on the way home, as it got dark for the last two hours of my journey) not to mention the frankly terrifying visions of cars honing past me on blind bends and narrow roads. They have no fear those Welsh drivers.

On arrival I was met by Lord Progradar himself, already priming me for the wallet emptying that was coming by raving about Southern Empire. Having seen the stage times and the final rearranged running order, I was pleased to see that Southern Empire and The Strawbs no longer clashed.

It was pretty much drop the bags off, have a beer at the apartment, and then off to see the music, the first night kicking off on Stage 1.

The venue itself was an actual original holiday camp and it’s been over 20 years since I last stayed in a Haven and, I have to say the accommodation was excellent, and a short (if bracing) walk to the main venue. Both the stages are next door to each other, separated by a pleasant plaza with a Burger King, Chippy, Starbucks and an open air bar.

This made ducking between stages for the sets incredibly easy and meant even if there was a slight overlap, then you didn’t miss much of the bands’ set. Of course, there were several clashes so some bands I was unable to see and apologise if I missed you out. Unfortunately, I couldn’t be everywhere at once.

Joined by fellow prog scribe Leo Trimming and other friendly faces, the relaxed atmosphere (and probably the beer) made for a relaxed and friendly ambience. Of course, there was David and Nicola Robinson and Andy Faulkner offering to relieve us of the burden of heavy cash in our wallets in exchange for shiny discs of happiness (hell, it’s a prog festival – you will go home laden with CD’s. It’s as inevitable as death so don’t fight it).

It was a pretty packed schedule which we were launched into, I won’t say gently as they were anything but, by Maschine who ticked the event off on Thursday night on Stage 1.

My biggest gripe with the festival was that the areas in front of both the stages were seated, which really took away some of the ambience and energy of the audience. Whilst there was plenty of dancing and movement going on further back in the venue, it must have been disconcerting for the bands in full rock mode to look down to a sea of faces all sat down like they were at the theatre.

The audiences were very enthusiastic, and it was a good crowd, but as a punter I do like to stand as close to the stage as I can get for at least a couple of songs, and this vital aspect of a live gig was sadly denied to me in stage 1.

A highly acclaimed act to start the festival, Maschine are full of energy and presence. Formed by Luke Machin (who must be one of the hottest young guitar players on the scene currently) and Dan Mash (Damanek) on Bass.

This young band have really grown into their sound, with the second album ‘Naturalis’ really building on the sound of their debut ‘Rubidium’. This band environment allows Luke the space to stretch himself on stage, however the occasional shredding in the middle of what was a fantastically complex song is one that jars a little bit.

There is no denying that the band is chock full of talent, Elliott Fuller more than holds his own with Luke on guitar, Marie-Eve De Gaultier on keyboards and vocals, centre stage as if she’s keeping the boys under control, and James Stewart anchors the sound with his drumming.

Bringing the material from their two albums to life on stage, Maschine set the bar high for all the other bands that followed and with their energy and power opened HRH in style.

This festival is nothing if not eclectic and Stage 1 did gain the nickname the retro stage, due to the number of classic bands performing there, and there was none more classic than the current incarnation of The Crazy World of Arthur Brown.

Fronted by one of the most distinctive front-men in rock and roll, the band did not disappoint. Arthur, in his full on God of Hell Fire face paint, and celebrating 50 years since the band’s debut album. To commemorate this fact, they played the first half of the record before launching into some newer material.

Arthur, as ever, is the consummate showman and the bands blend of blues and psych was performed by the latest incarnation, including a fantastic female guitar and keyboard pairing. These younger musicians, overseen by musical director Jeavon Beaumont, really put some spark into the music.

It even takes you back to old school psych festivals when, during some of the longer spacier moments, the band building a real groove, a female dancer comes on. The only thing that looks a tad uncomfortable is Arthur (about my Dad’s age) dancing and gyrating around the younger female guitarists, looking like a creepy Uncle in a nightclub.

Other than that, his voice still has all the power that it ever had and with their psych lightshow and deep groove (and a taut band), they put on a great show.

(Picture by Gareth Cole)

Headline act for the night, and band of the night for me was The Martin Barre Band, putting on a barnstorming performance, mixing new material and classic Tull tracks, the band put on brilliant performance. Vocalist Dan Crisp bringing the early style of Ian Anderson to mind, without this being a tribute act style.

Progradar I have to echo Jame’s thoughts on The Martin Barre band, it was a powerful and consummate performance. The tracks from latest release ‘Roads Less Travelled’ were blended perfectly with the classic Tull material and others. Martin’s guitar playing was incredible and Dan Crisp’s vocals perfectly matched.

(Picture by Gareth Cole)

For me, the highlights were the title track from the new album and (This Is) My Driving Song, both fiery, blues infused and powerful tracks. There was an electric energy running throughout the set and it made for a great end to the first day.

Heading back to the apartment for beer and a wind down after a long journey, this was a perfect opening to this three day bender Festival.

Day 2 started at the civilised time of 13:20 over in Stage 1, so there was plenty of time for me to go for a nice walk along the cliff tops, admire the Northern Wales coastline scenery and meander along the beach, before rendezvousing with Martin, who had been for a run.

A full English (or should that be Welsh?) in Porthmadog with Leo, set us up nicely for an afternoon and evening of entertainment. As locations go, a Prog festival in picturesque North Wales is certainly one I would recommend if they ever come back here again, as they are moving to London for next year’s festival.

On Friday I spent a lot of my time over in Stage 1 but before that the first full set of Friday was kicked off by I Am The Manic Whale in Stage 2.

I know Martin is going to go into their set in more detail, but I had spent the whole morning defending my position as a Doctor Who but not a Whovian, and then what did I Am The Manic Whale play? A song about Doctor Who complete with a fully progged out version of the iconic theme tune which brought a smile to my face.

Their set was a great way to start the Friday with and I will be looking forward to seeing them again.

Progradar The first band on a Friday lunchtime have a real task to energise the audience but I Am The Manic Whale soon had a fairly sizeable crowd rocking along to their high tempo, feel good style of progressive rock. With a set list comprising tracks from both of their releases, ‘Everything Beautiful In Time’ and ‘Gathering The Waters’, this unassuming band garnered many new fans with their excellent performance.

Over in Stage 1, Haze, currently celebrating their 40th year in existence put a great show on.

Led by the McMahon brothers, Chris (on bass/keys/vocals) and Paul on guitar and vocals, it was a romp through old and new material covering the bands existence. It’s been 20 years since I saw them and, since then, they released their album ‘The Last Battle’ back in 2013which mixed their sound up. Joined by Paul’s son Danny on drums and Ceri Ashton on vocals and flutes, they put on a fantastic show. Chris has lost none of his energy and stage presence and Paul’s vocals and guitar work was as great as I remember it from the ‘World Turtle’ days.

Danny on the drums adds some real power to the band, and it’s great to see the band carrying on as a family affair. They put on a fantastic set and were one of the bands I’d wanted to reacquaint myself with this weekend, and I am glad I did.

Following Haze were Tir na nOg, one of the legendary Irish folk duos, comprising Sonny Condell and Leo O’Kelly who, after a long hiatus, are now back out there playing a mixture of classic tracks and more contemporary material. Considering they are just an acoustic duo, they managed to hold the audiences attention and, while there were occasional drifts into folk singer cliché, they utilised looping and percussive beats on other tracks to put on a fantastic set that kept the audience entertained.

Progradar Following I Am The Manic Whale on Stage 2 were The Amber Herd, a band I’d never heard of before but one who produced a rather flawless set of folk rock/prog with intelligence and humour. As James has already stated, it’s difficult to catch every band at a festival like this but I’m glad I caught this trio as they were on of my surprise highlights of day 2.

Over on Stage 2 I was able to catch some of Mother Black Caps’ set, they had their ‘team’ out in force the night before passing out fliers and drumming up support, and while I didn’t manage to stay very long, I found I enjoyed their blend of rock and would have liked to have seen a bit more. Unfortunately, with festivals like this, you do find there are clashes.

Back over to the Stage 1 arena I was in time to catch the whole set from Birmingham instrumental trio Axiom, who were last minute replacements, hot footing it down to North Wales from the Midlands, complete with their drummers’ dogs.

This instrumental power trio of Zaid Crowe on guitar, Josh Ainsworth on drums and Stuart Drinkwater on bass were a revelation and one of the star acts of the Friday. Pulling together an impressive musical arsenal, they blend riffs with beats and they sit very nicely in the same area as bands like The Fierce and the Dead and Zombie Picnic.

Clever, progressive instrumental rock that is very easy to get into and enjoy, they also proved they have a sense of humour and don’t take themselves too seriously by playing a track that included some of their favourite riffs, mixing Michael Jackson’s Beat It with some Thin Lizzy and then the Death Star March tune from Star Wars got a great reception, it was fantastic to see a new exciting band like these guys really bringing it to life on Stage 1. I rather suspect that we will be hearing a lot more from this talented trio in the future.

A quick nip back over to Stage 2 enjoy the rest of Final Conflict’s set, a band who I’ve not seen, like Haze in about 20 years, and it was good to see that they are as strong as ever, with their own brand of Floydian-esque rock they know how to put on a show, and the audience seemed attentive.

Following them was a band who were new to me, an act called GU-RU, another musical trio who, with Lee Spreadbury on keys and vocals, Malcolm D’Sa on drums and Naomi Perera on flute and vocals, created quite a unique sound.

The mixture of the drums, the flute and the keys created a fantastically eclectic musical mix going from old school prog to real psych sounds and heading into full on dance music, while Perera’s flute soared throughout. Spreadbury is a bona fide old school prog keyboard player, full of charm and stage presence and plenty of musical chops.

In fact, GU-RU had magnificent stage presence and a sense of how to entertain the audience, and I managed to catch nearly all their set. They were really entertaining with a unique and different sound to some of the other guitar heavy bands. That really captured my attention as I love artists who will mix things up and go down a different road to everyone else.

GU-RU are one of those bands and they really played a fantastic set.

(Editor – We have this strange image because, despite James saying Wishbone Ash are one of his favourite bands, he didn’t manage to provide a picture!)

It was back over to Stage 1 for the founder member of one of my favourite bands. I was chatting to someone about the mammoth Wishbone Ash box that came out earlier in the year, it really is a thing of beauty. I know it was expensive, but I have loved Wishbone Ash for over 20 years and it was a perfect opportunity to get everything all in one place for me, and that’s why I was really looking forward to Martin Turner’s set.

I have seen Martin Turner’s band before, and the Andy Powell version of Wishbone Ash and while I like the fact that these bands are still out there and playing the music, Martin’s band just edges it for me. The reason why is that he plays a lot of the deeper cuts and back catalogue stuff that Andy Powell doesn’t, throwing in a blinding version of Front Page News for instance, Persephone also got an airing as did the title track to the latest studio album, Written in the Stars.

Obviously sets like this are truncated so the band, which is currently touring the Wishbone Ash debut album in its entirety, cut that back and played a few numbers from there and rounded the set off with a blinding trio from ‘Argus’, Warrior, Throw Down the Sword and Blowin’ Free.

Martin was on top form with his between song banter and his bass work is asnifty as ever, the twin guitar work of Danny Wilson and Misha Nikolic replicates the sound of the original band but, as both men are incredibly talented guitarists, they aren’t merely copying. They put their own stamp on the sound and are clearly having fun playing together, while drummer Tim Brown anchors the sound.

This is clearly Martin Turner’s musical vision and he takes both the audience and the band with him as he plays the music he created. It’s no nostalgia fest either as he and his talented band make their own mark on these songs and breathe new life into them.

Headliners on Stage 1 on Friday were Neo-Prog legends Pendragon, celebrating their first 40 years with the tour of the same name.

Nick Barrett’s distinctive guitar and vocal work is, as ever, front and centre, while the core line up of Peter Gee on bass, Clive Nolan on keys and Jan-Vincent Valazco on drums were augmented by Verity White and Zoe Devenish, who help to flesh out the already mighty sound of Pendragon.

These guys have been touring and performing for a very long time, and Nick and Clive are both masters of their respective instruments. Though I have seen Pendragon live more times than I care to remember, this is the first time I’ve seen them with the additional female vocals, and this new dimension to the bands sound really makes a difference.

The auditorium was packed, and it was heartening to see several younger punters here (and by that, I mean people younger than me – at 41, according to Martin I brought the average age down!)

Performing a set covering all the classic Pendragon eras, after all 40 years is a hell of a lot of music to cover, Nick and the gang managed to mix the set up and include tracks like Green and Pleasant Land (with its slightly dubious lyrical content, I am not sure how tongue in cheek it is with some of the sentiments expressed) among others, which kept the crowd entertained.

Having enjoyed another full day of music and discovering new bands to go with my appreciation of some of the more vintage acts, HRH put on a good mix.

Progradar -I had, early evening, shot off to meet up with Sean Timms, Danny Lopresto and Brody Green of Southern Empire:

It was an impromptu interview which, unfortunately, I didn’t record (the official interview will be aired soon) but we talked about all things Empyrean and the music in general over (quite) a few beers. I did manage to get back in time to catch part of a wonderful set from Luna Rossa, their ethereal sound and waif like grace ever ceases to calm my heart rate and Anne-Marie Helder was on top form this night. 

Saturday, we had a lovely trip out to Criccieth Castle with those TPA boys Leo Trimming and David Glaves (there is no competition between the prog review websites, we’re a friendly bunch of guys), just up the coast from Pwllheli, before the music started. The view was stunning and, as the castle is part of the ring of castles in North Wales, it would be rude to not visit whilst we were up there. We then found a pleasant café where we enjoyed our full Welsh breakfast to set us up for the days progging.

Martin was busy doing interviewing things (Ed: it’s called ‘work’ James), so I spent plenty of time at the bar, drinking with Gareth Cole flitting between the two different arenas to see as many sets as I could.

I spoke to Al Winter, frontman for This Winter Machine, this time last year when their debut album, ‘The Man Who Never Was’, had just been released and was getting great reviews. Since then, the band has recorded their second album, and been making waves with their well-received live shows.

This was the first time I had seen them and, having really enjoyed their debut, I was looking forward to their set.

They did not disappoint, Al was on fine form, his vocals really superb, and he worked that stage (& the audience) like he owned it, the new material from the forthcoming album fitted in perfectly with the songs from ‘The Man Who Never Was’, a perfect evolution of the bands sound and approach, and when they finished their hour long set (4 or 5 songs I think, but hey this is Prog) they got a standing ovation (the first opening band, I Am The Manic Whale, also got one on Friday).

The band made a fare few new fans and friends, and I am sure that they sold plenty of CD’s (Al knowing how to push his product by reminding the audience exactly where the merch was). Sometimes opening a festival can be a thankless task, it’s not known as the graveyard slot for nothing, but, like I Am The Manic Whale  before them, This Winter Machine took full opportunity of this to get the day started in style. It followed the tone of the weekend, while the bigger names were on Stage 1, some of the more eclectic and exciting acts were on Stage 2.

There is a delicious irony in me typing that as bar Southern Empire and Gandalf’s Fist, I spent pretty much all Saturday in Stage 1 (& part of it enjoying the company of Gareth Cole, Chris Bembridge & Richard Thresh – splendid chaps, all of them).

I saw some of Goldray’s set, the new band from former Reef guitarist Kenwyn House, with vocals from Leah Rasmussen. This weekend certainly had an interesting mix of classic rock sounds and psych sounds and Goldray were certainly out there.

From their glittery stage presence, to the light show, and the hypnotic musical sound they are at the forefront of the psych revival and about as far from Reefs sound as is possible to get. Leah has a magnetic stage presence, and plenty of star quality whilst the guitar work of Kenwyn was sublime. A complete glittery contrast to the next band on Stage 1, Jump.

Now out of all the bands that play for the CRS and that I have seen, I reckon I have seen Jump nigh on 30 times and they have never played the same set twice.

Fronted by Celtic bard John Dexter Jones, still looking as lithe and nimble as when I first saw him, he is the reminder of the fact that the protest song is still as relevant as it ever was and why musicians must talk about politics and life.

I read a lot of guff online about people saying that musicians shouldn’t talk about politics in their music and they should keep their art separate. Why? Is always my stock answer, they are making their art and it is not up to us to dictate what anyone should sing about. I remember the Jump song Tower of Babel, inspired by someone telling John he shouldn’t swear so much. Politics is everywhere, it dictates house prices, it permeates out every being, everything that happens to us and society is dictated to by politics, so musicians should reflect that in what they do if they are being true to themselves and their art.

He is a passionate, articulate and intelligent frontman who comes from proud Welsh stock and his history is as important as our future. This was evident in this truly impassioned and powerful set, featuring as it did, several songs that still resonate and sadly, despite being written a while ago, are still as relevant as they ever were.

The scathing Moscow Circus (taken from my favourite Jump album ‘Matthew’) and the new poem to music The Station Parade segueing into The Sniper from ‘The Beachcomber’ album, were two personally poignant insights about the First World War in the 100th year since it finished and telling of the folly of war and the story of one of John’s Great Uncles.

However, the highlight and most powerful song of their set, nay the weekend, was their new number Breaking Point, the title taken from ‘that’ EU referendum poster. It is Johns most brutal and impassioned takedown of this whole Brexit clusterfuck and rise of the right, I doubt there was anyone in there who wasn’t moved and understood the message behind the song.

Jump as a band are peerless live and they just get so much better with age, like a fine wine, with the twin guitar sounds of Steve Hayes and Ronnie Rundle trading licks and rolling riffs from one side to the other, whilst Mo on keys adds a lot of texture to the sounds. Andy Barker on drums keeps the beat going while newest member, Mark Pittam on bass, fits in perfectly with the band ethos.

JDJ made a humorous comment from a previous review about him hectoring and haranguing an audience, and you know what, for the quality of the performance and the songs I would happily be hectored and harangued for another few hours thank you very much.

I saw very little of Stage 2 during this period, which upsets me slightly as I had the misfortune to see some of the band that followed Jumps set.

Davy O’List’s The Attack, now Davy has an impressive prog pedigree, and an interesting back story, however I watched about 10 minutes of The Attack, of which at least two were the band stood in silence on the stage after finishing one song and none of them quite knowing what was happening next. At one point it looked like the band were all playing different songs, very little audience interaction and not much entertainment.

Sorry chaps, it wasn’t for me and I think a bit more rehearsal could have gone into this!

Progradar: I got back from interviewing duties just in time to catch German progressive metallers Deafening Opera on Stage 2 and I’m glad I did, their blend of powerful prog metal along with great melodies went down a real storm with the growing crowd. These young musicians were not only technically excellent but played with a lot of verve and a lot of soul. The 80 minute set was a great success and set everybody up for the next act…

I have been a big fan of Aussie melodic proggers Southern Empire for a while. Their first, self-titled, album crept under the radar a bit but the sophomore release of ‘Civilisation’ has seen them rapidly come to a lot of people’s attention.

With the charismatic Danny Lopresto on vocals and guitar, Cam Blokland on lead guitar, Brody Green on drums, Jez Martin on bass and Sean Timms as erstwhile bandleader and keyboardist, the band delivered a flawless set of dynamic, powerful and downright soulful music. Saxophonist James Capatch added a layer of impressive sophistication and Southern Empire proceeded to literally blow the audience away with their incredible storytelling and joyous music.

Opening with Forest Fire from the debut album and then following up with two lengthy tracks, Cries For The Lonely and Crossroads, from ‘Civilisation’, these marvelous entertainers from Adelaide had everybody lost in the moment and in the palm of their hands. Cam and Danny’s guitar interplay was brilliant and added a real fun feel to what was the utter highlight of the weekend for me.

 A live performance that was one of the best I have ever seen and one which I later called a musical epiphany, if you ever get the chance to see these guys live then do not miss it for the world!

Back to James for his take on Southern Empire

Making their HRH debut meanwhile over on Stage 2 was Southern Empire, formed by Aussie keyboard player Sean Timms, recently recovering from a heart attack, the timings were adjusted so they didn’t clash with The Strawbsand boy was I glad about that.Wwith livewire frontman and guitarist Danny Lopresto in fine form, and the formidable musical attack by the rest of the guys, Southern Empire were the band of the weekend for me.

Every festival I have ever been to always has the ‘why the fuck haven’t I heard this before?’ moment, and for me this moment was watching Southern Empire.

They filled the Stage 2 arena, put on an hour and 15 minutes of blinding music and left having won the hearts and minds of the arena. Those people saying ‘You must see Southern Empire’ were right, and much as I loathe to admit it (as it’ll give him a big head) Lord Progradar himself was bang on the money by saying these guys would be band of the weekend.

To think, if they hadn’t adjusted the timings due to pressure from fans wanting to see both Southern Empire and The Strawbs, I’d have missed this show, and I would have been completely gutted.

(Yes, I did leave having bought both Southern Empire albums, and they made excellent companions on the 4 and half hour journey home).

Progradar: Next up on Stage 2 were the wonderful ‘progressive piano trio’ Exploring Birdsong. I’d interviewed this young trio earlier and they came across as very wise heads on young shoulders and their set proved this to be very true. Drummer Matt Harrison, bassist Jonny Knight and pianist/vocalist Lynsey Ward delivered music that was a powerful combination of pop sensibilities and progressive compositions, all topped off by Lynsey’s soulful vocals.

Their recently released track, The Dowpour, is a cut glass piece of songwriting that belies their relatively tender years and was delivered superbly to the rapt audience. These three have a bright future ahead of them if this performance is anything to go by.

Back to my spiritual home for the day, Stage 1, for a set celebrating 50 years of The Strawbs. David Cousins had been unwell recently and so to see him on stage, surrounded by mainstays Dave Lambert on guitar, Chas Cronk on bass, Tony Fernandez on drums and, relative new boy, Dave Bainbridge on keys, they really went to town and played an explosive set.

Having jumped across many genres and styles, The Strawbs complex and intelligent music weaves between folk, rock and softer sounds and , for HRH, they pulled out all the big guns and gave us an eclectic electric set.

Mixing material from new album ‘The Ferryman’s Curse’ (tracks like The Nails from the Hands of Christ fitted the setlist like it had always been there) with an astonishing version of Ghosts, an emotive and powerful New World and a truncated quartet from their ‘Hero and Heroine’ set (Autumn, Hero and Heroine, Out in the Cold and Lay a Little Light on Me), they rounded off a powerfully strong set with the ‘Bursting at the Seams’ favourites The River and Down By The Sea.

This was an intense show of power by The Strawbs and shows how much energy and power the band have, it also shows that, with the newer material and the addition of Dave Bainbridge on keys, even after 50 years, Dave Cousins and the band are relevant, important and still have so much more to say musically.

I am glad the concert was rejigged so these guys and Southern Empire didn’t clash, as both their sets were important parts of this festival jigsaw and I am so glad I got to see an all-electric full band The Strawbs set in their anniversary year.

Following on from The Strawbs, and in one of the contradictory and different pairings that HRH seems to relish was another classic band celebrating their 50th anniversary. The original psychedelic warlords and musical anarchists Hawkwind.

Astonishingly, despite having loved this band since I discovered ‘Warrior On The Edge Of Time’ back at Uni in 1995. This is the first time I have ever seen Hawkwind live and, again, like The Strawbs, Jump, Gandalf’s Fist and Martin Turner, was one of my ‘must see’ bands of the weekend.

My favourite Hawkwind album is Warrior and so it was with great delight that they opened the set with Assault and Battery and The Golden Void, Dave Brock on fine form with guitar and vocals, while the line-up, currently down to a four piece of long serving drummer Richard Chadwick whose been with the band for 20 years (and who my chiropractor used to rent a room from, randomly!), Niall Hone on bass and vocals and newest member Magnus Martin, were, in suitably psychedelic fashion,just mesmerising.

The set included an incredibly extended version of the classic Damnation Alley where the riffs and extended improvisations contained more ideas than some bands have on an album, an arresting and brain melting Sonic Attack and a metronomical version of Born To Go.

We did duck out before the end due to the closing band on Stage 2 getting ready to start, but Hawkwind demonstrated why they are the original, and best, psych band still treading the board, and it’s full testament to the vision and skill of Dave Brock to keep this band on the road, playing these amazing tracks to an audience who clearly idolised everything they did.

(Picture by Gareth Cole)

One of the bands I have wanted to see for aeons, ever since I reviewed the album ‘A Forest of Fey’ back in 2013 for the DPRP, was Gandalf’s Fist, their drummer Stefan Hepe is a fellow naughty pachyderm. The way the band has expanded organically is brilliant, and then they blew everyone else out of the water in 2016 with their triple disc epic ‘The Clockwork Fable’.

Founder members multi-instrumentalist Dean Marsh and lyricist and vocalist Luke Severn have created a band around them with Stefan on drums, Ben Bell (Patchwork Cacophony – whose albums you need in your life) on keys, Christopher Ewen on bass and Keri Farish on vocals, this 6 piece absolutely owned the stage,and they were the perfect band to end the festival.

Making a brave choice to kick off with the unreleased track Leader of Men, from the opening bar they got the whole of the second stage on side. After all, the Fisters have previous having already fisted an HRH to within an inch of its life.

Pulling together a set list covering all bases (and, of course, the merch desk had all their CD’s including ‘The Road to Darkness’ reissue, ‘A Day In The Life Of A Universal Wanderer’, ‘Forest of Fey’ and ‘Clockwork Fable’, which I definitely didn’t buy the lot of to play on my journey home – here’s a tip for free, if you write for a prog website and know beyond doubt that your beloved better half won’t read this review, when smuggling CD’s into the house and hiding how much you spent, the phrase ‘review copies’ is one that you can get a lot of mileage from!)

Of course, the buggers pulled out the epic Eve’s Song from ‘Clockwork Fable’, which brought a tear to my eye, either that or I was sobbing at how much I’d spent but, either way, the powerfully emotive vocals of Keri Farish really brought this to life live and, of course, the band were on fire throughout.

The witty intro to Emerald Eyes (careful with that plagiarism Eugene) hinted at where the inspiration for this song came from and the between song banter between Luke and Dean was hilarious.

Songs from ‘Forest of the Fey’ (do Gandalf’s Fist deliberately try to provoke proggers with these titles?!?) mixed with the wonderful pieces from ‘A Clockwork Fable’ (a bloody marvellous live rendition of The Capture, for instance) show how much passion and energy the band put into their music. Another new song, The Warden, formed an integral part of the set and I cannot wait to hear the album that becomes part of.

From being a studio project to a fully fledged live band is not the easiest journey for some artists but Dean and Luke have chosen the perfect travelling companions. Stefan and Chris on drums and bass provide the perfect anchor points to allow keyboard wizard (in a top hat instead of a cape) Ben to sprinkle his magic all over the songs (seriously, you need to buy his Patchwork Cacophony albums) and Keri is the perfect blend of star vocalist and frontwoman, adding some real heart and soul to her musical performance and looking like this band have been together for ever.

From a competition to find the maddest prog name, to being real contenders for one of the most innovative and exciting prog bands out there, Gandalf’s Fist have had a tremendous few years, this set confirming what we all knew.

They are the future of prog and it was brilliant to see them play to a room full of appreciative fans, who stayed up well past their bedtime, looking at the at the age of them. We were well and truly Fisted, and I wouldn’t have had it any other way.

(Picture by Gareth Cole)

ProgradarI can echo James’ sentiments completely here, Gandalf’s Fist really did deliver a performance worthy of the final headliners on Stage 2. The impressive musicianship was matched by the peerless songs. To be fair, they are a band you either get or you don’t but I’m a big fan of their steam punk fantasy lyrics and ideas and, in Keri Farish, they have a vocalist who can capture an audience and hold them in her spell.

Dean’s sometimes crushing riffs give a visceral quality to the fantastical music and the rest of the band are all superb musicians imbuing the whole set with style and verve. Being the final act there was almost party feel to the performance with the audience thoroughly enjoying every track and giving the band well deserved standing ovation at the end. A wonderful way to close out the weekend.

I am a great believer in the healing power of music, and music, brings us together and unites us under one common cause, if only other things in life were so easy.

The HRH Prog festival crams a lot into the three days on site and I am very sorry to the bands that I couldn’t get to see due to clashes but, in events like this, you’re never going to see everyone, and I am glad I saw the sets I did. While I was most looking forward to seeing Gandalf’s Fist, who did not disappoint in any way shape or form, Southern Empire with their empirical and dominating set, just edged it for me as band of the festival.

The next HRH Prog is down in that there London, whether it will retain the family feel of this one I am not sure but, if the line up is anywhere near as strong as this, then any attendees won’t be disappointed.

People talk about the diminishing returns and lack of punters for small local prog gigs, I do wonder if this model isn’t the future, it might cost a little more, and take out more of your time, but I loved the friendliness, the convenience, and the way of seeing a combination of bands I loved and new bands that I now love, all within a very small dash between two stages.

Hats off to all the folks involved in pulling this together, and a massive thanks for letting me tag along and be a small part of something much, much bigger.

Progradar: HRH Prog 2018 was a huge success for me, excellent bands spread across two excellent stages with all the support network (food, beer, water etc.) very close to hand. The location had a hell of lot to do with the brilliant atmosphere and time will tell if the Shepherds Bush Empire venue will be as accommodating next year.

The highlights were Martin Barre, I Am The Manic Whale, This Winter Machine and Gandalf’s Fist but the star band of the whole weekend were the incredible and magnificent Southern Empire.

Keep your eyes peeled for forthcoming interviews from HRH Prog 2018 with Southern Empire, Exploring Birdsong and Gandalf’s Fist.

Review – Saul Blease – The Great War – by Jez Denton

The Great War of 1914 to 1918 has been, for many artistes, a rich vein of material, inspiring songs that detail the heroism, suffering, sacrifice and fear that all soldiers must have felt and experienced in those Flanders fields of mayhem, chaos, death and destruction. The war itself is beyond the comprehension of most of us, making the creation of any piece of art, I’d imagine, one of the most difficult tasks to do, ensuring that true and proper record is made. It can only be expected that any work needs to be a labour, work that needs the fullest detail to be sought. The work needs to be exhaustive in it’s research, it’s execution and it’s intentions. And it is work that will be held to the highest of standards by people who will have factual, historical and emotional attachment to this most emotive of subjects.

What cannot be denied is that Bristol multi-instrumentalist, Saul Blease, has undoubtedly set out to create apiece of music that does pay that fitting tribute. But this reviewer is one of those people who will set the high standards, being, as I am, someone with a deep interest in the  history of the Great War and that, I’m afraid has coloured my view of this album. For me, it doesn’t reach the standards I expect as a whole.

On my first listen I was intrigued by what I was hearing. I found the percussion in particular emotive, reminiscent as it was, on occasions, of machine gun fire. There were heavy parts that felt like a bombardment going on, with the impression being of being a soldier sat in a trench waiting for battle to start. And then the music would quieten, with lilting piano pieces perhaps reflective of the quiet before the storm. But through out this, there was this little nagging thought in the back of my mind, something that wasn’t sitting quite right, something that was jarring on my knowledge of the Great War itself. Another listen back only served to strengthen that thought, a thought that needed corroboration from a source with more knowledge than mine.

And it is thanks to Martin Hutchinson that he, on behalf of Bad Elephant Music, allowed me to share this album with a friend who is both a fan of progressive music but also an experienced Great War battlefield historian. The files were sent without comment, with the reply coming back that confirmed what I thought. The problem with this album comes lyrically; the historical inaccuracies that grated on me were only magnified with particular glaring errors being descriptions around the battle at Mons referring to trenches, barbed wire and mud -this never happened until a long time after this battle with the army at Mons in full retreat in open warfare, the trench warfare occurred sometime later once a stalemate was reached.

Now I am fully prepared for this review to be slated for not allowing a bit of artistic licence, for it to be said does it really matter? To which my justification is that, yes it does for two main reasons. Firstly, as I explained in my opening, this subject is so very important that it has to be right, there is an obligation on the artist, when taking on such a subject, to be absolutely true to those who experienced. On its own there could be an element of allowance, but the second issue I have with this album is the reliance on cliché; for both of us involved in this review the lyrics felt very much like a rushed and lazily written history essay. With reference to ‘brass hats’, ‘do or die’ and ‘dying for England’ this was very much in the stereotypical viewpoint of the First World War that was trotted out in 1960’s and 70’s school class rooms and perpetuated by Blackadder and far less worthy than the war poetry of the Wilfred Owens and Seigfreid Sassoons, for instance, whose voices are a much more genuine and authentic chronicle of this war.

Take this album as just a piece of work and there is plenty to enjoy, least not the quality of the musicianship. However, if you are a student of, interested in or, indeed, seeking to extend your knowledge of the Great War this is, unfortunately, an album that will infuriate, annoy and perhaps even, anger you. And in this conclusion I feel for Saul Blease as I’m sure he has spent many valuable hours trying to create a fitting tribute and chronicle of the Great War; unfortunately, for this reviewer he has only succeeded in pandering to popular perception rather than achieving a better researched reality.

Released 11th November 2018

Order the album from bandcamp here

 

Review – Anathema – Internal Landscapes – 2008 -2018 – by Jez Denton

The compilation career retrospective is an unusual beast, filling many different roles for many different types of fans. To the die-hard fan it serves a purpose of giving an insight into the work the artist believes most in, what they are proudest of. To others its an easy to go to listen of a favourite band; great for reminding them of albums to immerse into later. And then for others, it serves as a great introduction into a band, and maybe inspiring them to delve deeper into a catalogue.

And for ‘Internal Landscapes’, the retrospective of the last ten years by Liverpool band, Anathema, I fall into the latter category having never really listened to the band myself. To be honest, I’m not entirely sure why this is; Anathema are a band that a lot of people whose taste in music I admire and trust rate very highly indeed. So when I saw that the guys on the Big Big Train forum were making some noise about this release, well the opportunity to dive in was hard to resist.

And so, thanks to Martin Hutchinson, my Anathema cherry has well and truly been popped. And I’m glad it has been, with this compilation of music from their latter career from 2008 to the present day, including releases from the albums ‘We’re Here Because We’re Here’, ‘Weather Systems’, ‘Distant Satellites’ and ‘The Optimist’, being one that has whetted my appetite for more from this band.

What I particularly like about this release is that it is in no way self-indulgent; for too many bands the temptation to throw too much at a compilation is hard to resist. CD’s are filled with more and more tracks, demos and outtakes, near on whole albums in some cases. Anathema have, though, restricted themselves with just 13 tracks giving that exemplary taster of what the last ten years have been about for them. Leaving someone like me, the new introductee, wanting more; a desire that can only be sated by diving into those albums this release supports, and for the already devoted, well I can only see them inspired to revisit those favourite pieces.

There is lots to enjoy about this album and the music of Anathema. Lyrically I found it sometimes a little clichéd, though not to the detriment of the whole enjoyment (but then I am always looking for lyrics to reach some pretty exacting standards). But, the real highlight for me is the music, the harmony between instruments and voices with the real star, for me, being the beautiful piano pieces that underpin the majority of the work produced here. The whole feeling is one of great subtlety, light and shade and beautiful melody and one that will inspire me to find more out about Anathema.

Released 26th October 2018

Order the album from burning shed here

Review – Viriditas – Red Mars – by Progradar

This hour long journey of dynamic and melodic music was inspired by the great sci-fi writer Kim Stanley Robinson’s book of the same name. ‘Red Mars’ is loosely based on the adventures of the characters in the book, and the myriad of trials they face as they ultimately seek independence from their corporate overlords back on Earth.

Principal songwriter Mike Bridge says about the album “Red Mars started out as a collection of instrumental tunes written for a four piece still centred around events from Robinson’s book, but I was so inspired to further connect them up that I began extending the tunes and writing lyrics. There are moments of darkness and wonder alike as characters secretly share their feelings with the listener amid the turmoil of the events going on on Mars.”

The style of music has inspirations from not only the classic progressive acts that are obvious to a seasoned listener (Genesis, Magma and The Flower Kings to name a few), but more broadly from folky artists such as Loreena McKennit and the more traditional hard rock style of Magnum.

Well that press release has certainly set the bar high. My good friend Leo Koperdraat of Fractal Mirror pointed Viriditas my may and the rest, as they say, is history…

You can approach this album happy in the knowledge that you don’t have to have read the book that it is based on to thoroughly enjoy what is an involving and baroque musical adventure.

The three vocalists, Mike Waters, Julie Kvaerndrup and Hannah Bridge introduce a dramatic and theatrical feel that envelops everything from the opening title track Red Mars. The music is incredibly cinematic in scope and delivery, giving a real rock opera vibe. Listening to The Killing and Ares, fans of Bent Knee and Circuline will understand exactly where I’m coming from when I say it is progressive in the true sense of the word with Guitarists David Stanton and Thomas Williams adding proper pomp and circumstance to Khalia and Blood On The Airwaves and also a confidence that is well deserved.

Yes, there’s classic prog influences but the hard rocking guitars and driving rhythm section definitely add some hard rock kudos to the whole album. Mike Bridge’s stylish bass playing and John Wills dynamic drums power everything along with a high energy tempo that is really infectious, especially on the epic primeval force that is the twenty-minute prog-fest of We See RedThis is a song that will really put a smile on your face, the playing is tight and precise but there’s also a real high voltage intensity and vitality that runs throughout.

The album comes to a close with the mysterious tones of Beyond The Reach Of Fools, a track that could have come from a David Bowie led Genesis and Flower Kings collaboration (just stay with me, it would work, honest!). There’s some might fine guitar work and a spaced out, chilled and almost psychedelic edginess to the song and it just works brilliantly.

What a thoroughly enjoyable nostalgic sci-fi blast that was, an album that wears its heart on its sleeve and a group of musicians that fit together perfectly. The best thing about it is that Kim Stanley Robinson wrote a trilogy so you know there’s got to be two more instalments coming our way and I can’t wait!

Released 23rd August 2018

Order the album from bandcamp here

 

 

 

Review – Dean Watson – Track of Days – by Progradar

Dean Watson is a multi-instrumentalist from Toronto in Canada and, until he reached out to me, I have to confess that I had not heard any of his music before.

I am now exceedingly grateful that he did!

‘Track of Days’ is Dean’s fifth album of prog-fusion music and contains the 51 minute epic title track. To be fair apart from the short introductory track Updown Waltz, the whole album is the title track.

And what a track it is, sumptuous progressive rock fused with some extremely stylish jazz, a complete instrumental tour-de-force that takes you on a wonderfully involving musical journey with nods to the likes of Keith EmersonHappy The Man, Pat Metheny, UK, Bruford, Yes, Genesis, Gentle Giant and a whole gamut of others.

All instruments, programming, writing, mixing and mastering are done by Dean and he is an incredibly talented individual. It’s often said that you should listen to an album in one sitting and with ‘Track of Days’, that is a must, it is meant to be treated as one long piece and you will get the most from it if you do follow that advice.

It flows and segues from one act to the next, the musical ingenuity and complexity fusing and melding to create an intoxicating musical tapestry. For me it is the keyboards and synthesisers that are Dean’s piece-de-resistance and the comparisons with Emerson are earned. They come alive in his hands and give an energy and life force to the music that gives it a vibrancy all of its own.

The best compliment I can give to an album new to me is if I immediately press play again as soon as I have listened to it for the first time and with this album I did that not once but at least three times, it really is that good.

I’ll certainly be seeing where this accomplished musician goes next, with inventiveness like this then the sky is surely the limit!

Released 8th September 2018.

Order the album from bandcamp here

Chasing the monkey… An Exclusive Track-by-Track Guide of Make Me Young, etc. by Michael Woodman of Thumpermonkey

In a Progradar exclusive, Michael Woodman, the vocalist of Thumpermonkey, has written this track by track guide of the band’s new, full length, album – ‘Make Me Young, etc.’

1) Veldt:

This was written ages ago – in about 2010.  It was one of those songs that just sort of popped out complete, but then stayed in demo form for ages until we decided we had a release that the song would fit with. It’s a song about using other people to help push you out of a preoccupation with negativity. It’s about relying on somebody to point out that the things you find toxic or shameful about yourself aren’t really that big a deal. It’s a ‘note to self’.

2) Cranefly:

I once tried to stay awake in an attempt to reset my body clock after flying back from getting married in New York – so I occupied myself by writing riffs. When I woke up, the verse for this song had appeared on my hard drive, though I have no recollection of writing it. Unsurprisingly, I ended up with a song, in part, about insomnia. Hearing the verses now, still makes me think about that state of not being in touch with reality when I’m really sleep deprived.

3) Figstorm:

Another very old piece of music – Rael wrote the piano part years ago – it was just waiting to find a home with this album. It’s about the disorientation experienced when crossing the boundary between fidelity and infidelity in a relationship. There’s even a paraphrased bit of Alan Bate’s monologue in ‘Women in Love’ for good measure.

4) Buttersun:

There’s a definition I read of ‘liminality’ that I really liked – the quality of ambiguity or disorientation that occurs in the middle stage of ‘rituals’ when participants no longer hold their pre-ritual status but have not yet begun the transition to the status they will hold when the ritual is complete. Veldt is about crossing from self-loathing to self-acceptance. Cranefly is the boundary between sleep and wakefulness. Figstorm is fidelity and infidelity. To take this even a stage further, ‘Buttersun’ is a threshold in the middle of the album – the split between songs about internal things and external things.

5) Deckchair for Your Ghost:

This song started life referencing a nightmare I had about trying to hide a body underneath a tree in our front garden, but then it became a vehicle for a character – one who has just been cursed with the knowledge of an impending extinction level event. I had an email from a fan in about 2012 who had clearly been reading some of the nonsense I post about Aztec theology, and he seemed pretty keen on the idea that the world was going to end. I’m sure it was all meant in humor. I didn’t hear from him again.

6) Make Me Young, etc:

The title of the song is the last line of dialogue delivered by Kilgore Trout in ‘Breakfast of Champions’. It’s what he says to Kurt Vonnegut, (who has entered his own novel as a character), purely for the purposes of letting Kilgore Trout know that he isn’t real. This is a song about the end of the world.

7) Tempe Terra:

A mournful post-human coda. If any humans do escape earth and colonise Mars to start afresh, there’s always the fear that they’ll bring all their awful conceptual baggage with them and make a mess of Earth Mk2 as well.

The album was released on 26/10/18 and you can order a copy here:

Thumpermonkey – Make Me Young, etc.

Artwork and photography by Ashley Jones.

FOLLOW THE BAND
Website: http://thumpermonkey.com
Facebook: https://www.facebook.com/thumpermonkeyband/
Twitter: https://twitter.com/thumpermonkey_
Youtube: http://www.youtube.com/user/Thumpermonkey
Bandcamp: https://thumpermonkey.bandcamp.com
Spotify: https://open.spotify.com/artist/6uPhRxSHY9UWiyuImpE8e9

Review – Thumpermonkey – Make Me Young, etc. – by James R. Turner

‘Make Me Young, etc.’ is Thumpermonkey’s  first full length release for a while, the elusive and eclectic quartet announced their musical return last year with the stonking ‘Electricity EP’ (check out the review at the link at the end) and since then they have performed a barnstorming set at this years Eppyfest in Cheltenham (where their unique brand of music went down a storm), mixing their older material and new stuff created a vibrant and room rocking kind of set.

I mention Eppyfest because it was all thanks to Ian Fairholm that I saw them back in 2014 in Stroud, where their inventive and complex musical prowess, their emotive and powerful set and their sheer innate musicianship drew me in. Off I strolled at the end of the day with the two CDs on offer, 2010’s ‘We Bake Our Bread Beneath her Holy Fire’ and 2012’s ‘Sleep Furiously’.

Both albums are as eclectic and eccentric as the band are live and I am fully aware that the kind of sonic origami that Thumpermonkey creates is very much a marmite sound, you either love it and enjoy them or it passes you by. That is fine, not everyone likes the same thing, and I wouldn’t expect you to change your mind only 200 words into this review.

However, as a reviewer who gets quite a lot of stuff sent to me from various places to listen to, I would rather receive one album like this than half a dozen generic middle of the road, let’s make an album that sounds like 1974 Yes or 1976 Genesis because we’re prog and it’s what we do, if I want Yes circa ’74, I will go put ‘Relayer’ on.

This isn’t the sort of record that you can put on in the background. Very much like their live show, Thumpermonkey request you pay attention, and from the get-go, the opening salvo of Veldt, they grab the attention, and pull you right in.

The overriding theme of the album is an impending apocalypse (in this instance based around an asteroid hitting the planet), which, based on the way things are going in the wider world, may not be far off the mark, particularly when we seem to have world leaders who think that Threads was a manifesto and not a warning.

This flows throughout the music here, and the four piece manage to create some truly expansive widescreen sounds, with the beautiful interlude of Buttersun fitting between two wonderfully intense pieces of music, Figstorm and the intense and brooding Deckchair for Your Ghost.

The way the Michael Woodman’s vocals soar and glide through the music is a joy to behold, and they are treated as much as an instrument as his powerful guitar work, mix in Rael Jones fluid keyboard and guitar work, add the drumming powerhouse that is Ben Wren (who can flit between the soft and the heavy at the drop of a (hi) hat) and Sam Warren’s bass, that is as much of a lead instrument as Woodman’s guitar, then you have one of the most inventive musical quartets around at the moment, fitting into that area of music that is occupied by bands like Knifeworld or The Fierce and the DeadThumpermonkey are very much their own musical genre.

The title track builds and climbs to it’s crescendo, where the mantra ‘Take this useless sadness and throw it away’ acts not just as the climactic coda, but also an instruction, a life hack if you will, something that resonates with you long after the song has faded.

They mix widescreen cinemascope sounds, with big riffs, piano sound to die for, and an overarching concept that never feels forced or shoehorned into.

Very much like the best films and plays, the narrative drives and unfolds across these 7 tracks and it is an album that rewards, nay demands, repeat listening (luckily, I’ve been enjoying it on the commute to work through my headphones, so I am there, immersed in their world and sound).

This year has seen a strong bunch of albums from artists like Regal Worm or The Tangent, who have looked at musical boundaries and decided to ignore all of them, and this is one of those albums.

It sounds like nothing else out there, other than Thumpermonkey, and it’s a sign of how right this album is that now, as us reviewers are starting to think arbitrarily about those pesky ‘best of’ lists that people like so much, that I can say for a fact that Thumpermonkey, with the ‘Make me Young, etc’ have released one of the best albums of 2018, and it was well worth the wait.

Released 26th October 2018

Order the album from bandcamp here

Artwork and photography by Ashley Jones.

Read James’ review of the ‘Electricity’ EP here:

Review – Thumpermonkey – Electricity – by James R Turner

 

Steve Hackett Announces Release of New Studio Album – At The Edge of Light

Following the tremendous success of 2017’s The Night Siren (charted at #22 in Germany, #28 in the UK), legendary former Genesis guitarist Steve Hackett announces the release of his new studio album At The Edge Of Light on the 25th January 2019. The album which features ten songs, sees Steve unite a vast amount of styles ranging from guitar driven rock to epic orchestration, from world music to the reflective and atmospheric all brought together in Steve Hackett’s unique style.

Steve says: “In these dangerous times, deep shadows feel even sharper than usual and we find ourselves standing at the edge of light… The contrast between dark and light weaves its way throughout the album in many ways, from the sense of good fighting evil through to the interplay of dark and light opposites magically combining in cultures, including the heartbeat of India and primal tribal rhythms. Ultimately, this album embraces the need for all musical forms and cultures to connect and celebrate the wonder of unity in this divided world.”

At The Edge Of Light is released in a number of formats including a Mediabook CD plus extra DVD with 5.1 surround sound mix & behind the scenes documentary, double vinyl LP + CD, Jewel case CD and digital album.

Steve Hackett has established himself as one of Rock music’s finest and recognisable guitarists through his time with the legendary Genesis who he joined in 1971 and a solo career following his departure from Genesis in 1977 and is a hugely influential guitarist particularly in the Progressive Rock genre. At The Edge Of Light will be Hackett’s 26th studio album in a solo career that began in 1975 with the release of his debut solo album Voyage Of The Acolyte.

At The Edge Of Light was mainly recorded in Steve’s own studio but also around the world. The album features international artists, including Durga and Loreley of Pink Floyd vocal fame with drummers Nick D’Virgilio and Simon Phillips from USA, Sheema on sitar from India, Icelandic drummer/percussionist Gulli Briem, tar player Malik Mansurov and Swedish bass player Jonas Reingold… This album also features Paul Stillwell on didgeridoo, Rob Townsend on sax, bass clarinet and duduk, Amanda Lehmann on vocals, John Hackett on flute, drummer Gary O’Toole, Roger King and Ben Fenner on keyboards, Dick Driver on double bass, violinist and viola player Christine Townsend… All magically honed and engineered by Roger King.

Tracklist:
1. Fallen Walls And Pedestals
2. Beasts In Our Time
3. Under The Eye Of The Sun
4. Underground Railroad
5. Those Golden Wings
6. Shadow And Flame
7. Hungry Years
8. Descent
9. Conflict
10. Peace

The album is released shortly before Steve performs as special guest on the Cruise To The Edge in February 2019 and the On The Blue cruise featuring Justin Hayward, also in February.

Hackett recently played a series of Genesis Revisited shows with Orchestra and will perform two UK dates with acoustic sets in early December before touring Europe in April/May 2019 and has just announced a UK tour in November 2019 with a much anticipated “Selling England By The Pound & Spectral Mornings & Album Highlights” set.

NOVEMBER 2019 UK TOUR DATES

 

Sat 02                   Aylesbury Waterside
Sun 03                  Folkestone Leas Cliff Hall
Tue 05                  Sheffield City Hall
Wed 06                Cambridge Corn Exchange
Fri 08                    Leicester De Montfort Hall
Sat 09                   Cardiff St. David’s Hall
Mon 11                Liverpool Philharmonic
Tue 12                  Brighton Dome
Wed 13                Portsmouth Guildhall
Fri 15                    Salisbury City Hall
Sat 16                   Reading Hexagon
Mon 18                Birmingham Symphony Hall
Tue 19                  York Barbican
Wed 20                Bath Forum
Fri 22                    Halifax Victoria Theatre
Sat 23                  Gateshead The Sage
Mon 25                Edinburgh Usher Hall
Tue 26                  Manchester Bridgewater Hall
Wed 27                Southend Cliffs Pavilion
Fri 29                    London Hammersmith Eventim Apollo
 
Tickets available from https://myticket.co.uk/ and venue box offices.
Press photo by Tina Korhonen

THE PINEAPPLE THIEF ANNOUNCE NEW LIVE DATES IN EUROPE & THE UK FOR FEBRUARY & MARCH 2019

The Pineapple Thief have just returned from the first leg of their Dissolution tour where they enthralled audiences across Europe and the UK. Including many sold out shows and their biggest show to date at London’s prestigious O2 Shepherd’s Bush Empire. The band are now ready to announce new dates for 2019.

Frontman Bruce Soord states “Our first Dissolution tour went so well, and we had such a great time so we’ve decided to do it again. This time visiting some of the cities we couldn’t make the first time around. I know there are a lot of people disappointed we are not coming to their neck of the woods, but we hear you all and are definitely working on it!”

The Pineapple Thief will once again be joined by now full-time member Gavin Harrison on all dates.

21.02 Firenze (Italy) – Viper

22.02 Roma (Italy) – Largo Venue

23-02 Milano (Italy) – Santeria Social Club 

24.02 Pratteln (Switzerland) – Z7

26.02 Stuttgart (Germany) – LKA – Longhorn

27.02 Frankfurt (Germany) – Batschkapp

28.02 Strasburg (France) – La Laiterie

1.03 Zoetermeer (Holland) – Boerderij

2.03 Hamburg (Germany) – Grosse Freiheit 36

3.03 Copenhagen (Denmark) – Lille Vega

5.03 Stockholm (Sweden) – Nalen

6.03 Oslo (Norway) – John Dee

20.03 Newcastle (UK) – O2 Academy

21.03 Glasgow (UK) – Saint Luke’s

22.03 Manchester (UK) – The Ritz

23.03 Birmingham (UK) – The O2 Institute 2

24.03 Bristol (UK) – The Fleece

Support to be announced

Tickets on sale now – http://www.pineapplethief.com/

The Pineapple Thief are:

Bruce Soord – vocalist, guitarist, composer

Gavin Harrison – drums

Jon Sykes – bass

Steve Kitch – keyboards