Esthesis is a French progressive/alternative rock band, their music is characterised by many different influences (70’s british rock, film score, ambient, metal, pop…) and is primarily based on emotion and ambiences.
Created and led by French multi-instrumentalist Aurélien Goude (music, lyrics, keyboards, vocals, guitars and bass), the current line up is completed by Baptiste Desmares (lead guitar), Marc Anguill (bass) and Florian Rodrigues (drums). They released their first EP ‘Raising Hands’ in January 2019.
The band’s highly anticipated debut album ‘The Awakening’ is a thought provoking, intense musical experience full of ambient, cinematic soundscapes. The band allow the music to grow and expand in your conscious as the melancholic chords and Pink Floydlike electronica lead you on a mysterious musical journey.
Wistfully indulgent guitar tones overlay the elegant brush stokes of the sombre piano and elegantly delivered bass and drums while Goude’s pensive vocal leads the way. Listening to tracks like opener Downstream and the stylish High Tide, you find yourself immersed completely into the album’s concept of the notion of identity (awakening, quest and loss of identity), the intelligent songwriting and excellent musicianship allowing exquisitely refined progress.
No Soul To Sell is deliciously dark in its subtle atmosphere and Chameleon, with its graceful acoustic guitar, is polished and precise. Title track The Awakening is an apprehensive instrumental that has me on the edge of my seat with its repetitive key strokes and random sounds that wash over you as the tempo increases and a harder, strident guitar tone takes over. The album closes with the powerful and dramatic track Still Far To Go, a riveting and mesmeric song full of emotion that stays with you, holding your attention, until the last note fades away.
What with lockdown and real life getting in the way, it has taken me quite a while to write this review and, in a way, I’m glad it did. ‘The Awakening’ is one of those albums that grows on you with more and more listens, you find little nuances after every play that give it more soul and depth. Esthesis have produced a seminal slow-burning debut that, in my opinion, is one of the best in recent memory and you’d be doing yourself a disservice if you didn’t add it to your list of must have albums.
Lockdown has seen an explosion of music created by people with time to explore their creative side, be they experienced musicians with a huge back catalogue behind them or relative novices.
For us reviewers this has also meant a vast increase on music that we receive to review so, on top of the fact that my real world job is increasingly busy, it has to take something pretty special for me to get my fingers dancing across the keyboard.
Some musical genres just don’t hit the spot for me but, if I even have a tiny tingle of anticipation about something, I will at least give it a listen to see if it resonates with me and, hopefully, find the time to put some words down on the MacBook.
Joe Devine is an Independent solo artist from London. Having spent almost 20 years playing a huge range of different genres for numerous different artists and bands, he is now taking the leap into producing his own body of work in the hope of creating and capturing his own personal sound that fuses all aspects of his eclectic influences.
Joe sent me an email to see if I would be interested in reviewing his first solo EP, ‘One Foot Forward’. I was intrigued by the minimalist cover and the information contained in the email and, after a quick listen, the absorbing music.
“The project started out purely as a journey of self discovery throughout Lockdown, however after sharing initial concepts with friends and musicians I’ve been lucky enough to work with over the past 20+ years as a session player, the project team rapidly grew; including Daniel Said on drums as well as Henry Green on bass and Produced/Engineered by Ivo Sotirov at The Friary Studios that houses the iconic 48 channel SSL G4000 desk previously used in Studio 1 of the legendary Olympic Studios by artists such as Prince and The Rolling Stones.” Joe explains,
“After a year of graft and collaboration the sounds and tones we were able to achieve on this recording and the subsequent tracks to follow surpassed anything I could have imagined when I began and I cannot wait to share the end result.”, he goes on to say.
The album contains five tracks of superbly written and delivered instrumental guitar music that contains influences of jazz, prog and straight up rock. Each of the tracks tells a story and takes us on Joe’s musical journey, including the evolution from his early days playing acoustic folk through to more contemporary guitar playing throughout his 20s.
What we get is a gloriously laid back and lush selection of tracks that just ooze class and a polished sophistication. It brings to mind the criminally underrated Neal Schon solo release ‘Beyond The Thunder’ to these ears on One Foot Forward and Baby Steps and I find Joe’s style comparable to Schon’s, a mixture of note precise technique along with lashings of heart and soul.
It is all utterly uplifting from the start to the finish with a gloriously atmospheric and wistful feel throughout. Utterly infectious and catchy riffs trade places with fiery dynamism and a monstrous groove that Joe Satriani would have been proud to call his own on the brilliant Giant Leap and modern Math Rock notable Plini can be heard in the staccato notes of the stylishly edgy A Perfect Contrast.
This way too short EP finishes with Too Far Gone which starts with an intricate guitar that reminds me of legendary guitarist Andy Summers before opening into another snazzy, clever piece of music with a deliciously restless undertone.
Listening to this album for the first time brought a smile to my face and there’s a lot to be said for that in these times we are living through. Technically brilliant but with soul and a sense of humour and just a huge amount of joie de vivre, ‘One Foot Forward’ is a very bright musical light at the end of a dark tunnel and I implore you to seek it out.
John Wenlock-Smith: Good day Ronnie, how are you doing?
Ronnie Platt: Hello again John, yes, I am very well thanks, how’s things with you these days?
JWS: All good here, we’ve both had our vaccinations and we can see things starting to open a little here now, which is good. We had our first coffee out on Tuesday which was good, no masks and almost normal even, have you had all your vaccinations yet?
RP: Yes I am all good, did you have any reactions, flu-like symptoms or anything?
JWS: No, all fine, my arm ached a little a few days after but, otherwise, nothing.
RP: So, is everything open again now?
JWS: It is getting there but not everything yet.
RP: What about travel, can you go freely yet?
JWS: Around the UK, yes but internationally, no. We still have a list of approved places that we can go to but everything is starting to open a bit. It will get much better in June when more restrictions are lifted.
RP: Yes, it is pretty much the same here. I am speaking from the suburbs of Chicago, from my den in the basement, which is full of old guitars and equipment, if you could see the mess that it is in!
JWS: Well this is my den (shows him guitars, CD’s and piano).
RP: Can you play John?
JWS: Sadly I am a one finger only type player. I can play most melody lines but nothing with the right hand really.
RP: Whether you are playing with one finger or are an established player, I always say that music is the best therapy, how long have you been playing guitar?
JWS: Years, however I cannot really play much, I can do chords and rhythm but nothing technical really.
RP: Well, keep at it, practice makes perfect I find.
JWS: So the new album is out next Friday?
RP: Yes, ‘Point of Know Return: Live and Beyond’, we could not be prouder of it.
JWS: Can I ask, why is there no live video of it?
RP: Into today’s world, when I kook out in the audience, I see everyone holding their phones up watching and it ends up on YouTube. It makes it all exceedingly difficult to do and compete really, hopefully, at some stage, we will be able to do something but right now our attention is focused on getting back out on the road and playing live again.
JWS: London next year for you (Kansas) isn’t it?
RP: Yes, hopefully we will get there next year as the last two times were cancelled. In the 7 years I have been in the band we have wanted to come, especially since ‘The Absence of Presence’ is doing so well there.
JWS: We are hoping to be able to get to it ourselves, my wife knows that I want to go and she is happy to come along with me. So how was it for you singing these songs from ‘Point of Know Return’?
RP: It is amazing to me to, and I will include the entire Kansas catalogue in this, these songs that I have just loved my entire life, being a huge fan for many years. It is really a dream come true and surreal to be doing it. For my generation, you would buy an album and memorise the entire sequence of songs. It is special how I bought these albums and also being such a huge Kansas fan for all my life.To play the album in its entirety in the sequence that it was recorded in is a real honour and privilege to do.
JWS: I grew up in the 70’s and first heard Kansas in 1975. I then got hold of the ‘Point of Know Return’ album and it was a favourite of mine for many years but I especially loved songs like Hopelessly Human and Closet Chronicles. Kerry Livgren was such an awesome writer, his material is always strong and good.
RP: So John, you are like me, you love the deep cuts, not just Dust in the Wind but the less celebrated tracks like Nobody’s Home, I love singing those deep cuts.
JWS: I used to have the album cover on a mirror but that has gone now, sadly. I like that this album has some rather obscure Kansas songs like Two Cents Worth which is completely different to Song for America. The only disappointment for me is that People of the South Wind does not have Phil Ehart’s fabulous drum fills on it but, even without the drums, you keep the groove going. Will it be the same set in London?
RP: We will possibly change a song or two but we will do all of ‘The Point of Know Return’ album but who knows what it will be? It’s one of the great things about Kansas, there is such a library of music to draw from.
JWS: I am really looking forward to that show, my wife is looking forward to seeing the band and she trusts my taste in music. We are also seeing Genesis in October this year.
RP: Another of my favourite bands, ‘Wind and Wuthering’ is one of my favourite albums along with ‘A Trick of the Tail’.
JWS: I spoke to Steve Hackett a few weeks ago, he has recorded three albums in lockdown!
RP: Wow, he has been a busy boy, that makes us look lazy! I believe that Genesis will be in Chicago sometime in November but we will be out on the road ourselves, so I will probably not be able to catch them.
JWS: I spoke to Tony Banks last year and he said that with Genesis, it is always a case of never say never, we are always talking about reconvening activities.
RP: I used to open with Dodo in one of the bands I was in during the 80’s, I even took my mother to see Genesis.
JWS: Well Ronnie, my time has almost gone.
RP: Thanks John, it has been good to talk to you again, keep practising the guitar and keep playing the keyboard and we will hopefully see you next year in London.
Kansas – ‘Point of Know Return: Live & Beyond’ is released on 28th May, 2021.
John Hackett is the flute wielding, multi-instrumentalist brother of Steve Hackett and the two share a musical, as well as a familial, bond. They have worked together on and off over the years with John popping up on Steve’s albums, alongside this John also is the leader of his own group The John Hackett Band and has released several albums over the years such as 2015’s ‘Another Life’ about a faltering relationship and 2017’s ‘We Are Not Alone’, which was a 2 disc set of the album and a live concert recording of a Classic Rock Society gig in Maltby in 2016 (which included tracks primarily from his ‘Checking Out in London’, ‘Another Life’ and a few pieces from the ‘We Are Not Alone’ album.
This new album is a little different in that a) It was recorded in Lockdown 2020 and b) John plays all the instruments that you hear and produced and mixed it all at home. The result is a rather mellow but seriously tuneful set of songs with progressive overtones and embellishments, which are all seriously fine pieces of music.
The album lasts for around 45 minutes but, within that, you will find some fabulous music, all very well realised and performed. Unsurprisingly, there is a fair amount of flute playing but also some very fine guitar playing, in the style of brother Steve. The drums are all from a program, not that it matters really.
The quality of the songs is high and they all have strong memorable melodies. Any solos are brief but fit the song and are not showboating in any manner. There are even bongos on the album but I will leave it to you to discover exactly where they appear. There are a lot of pop elements on show as John gets in touch with the 80’s vibe on a few tracks like In Love, which has a very jaunty beat to it, others have a more melancholy or subdued air about them.
Crying Shame has a brief but satisfying guitar solo, it’s worth remembering that John was originally a blues guitarist in his teens before seeing King Crimson and taking up the flute after being inspired by Ian MacDonald’s playing.
Another pleasing aspect to this album is the sparseness of the arrangements and how John uses that spaciousness to work for him, this also allows his bass playing to really make its mark, anchoring each song solidly. You especially notice this on Broken Glass which is a phenomenal song, slow paced but full of melodic touches and great harmonies. It’s probably my favourite track here along with Julia and Too Late For Dreamers, which has a lovely summery feel to it with some fine sweeping guitar chords and rhythm driving it along. John is very proficient on each instrument, creating layers of sound to achieve a full sound on the album.
Julia is a song John wrote many years ago that now gets its first outing on this album. This is a great little song, very evocative, with a driving guitar riff and has great lyrics to it. Another song that works well for me is the closer, There You Go Again, with its jolly guitar lines and sympathetic keyboards. The track is a bit of a love song really and the chorus is upbeat and memorable and will stay with you long after the album has ended. It also has some jolly flute and acoustic guitar interchanges and a penny whistle solo, all very merry and fine sounding. This closes the album out in strong style and you are left with the option to simply press play and enjoy it all again. I know I certainly want to, this album is brim-full of strong songs, energetic playing and good lyrics.
For an album recorded under some difficult conditions, John has really crafted a fine low-key release here and one that is most certainly worthy of your time and listening. I really enjoyed it and it gets even better the more that you play it. Please buy it from John direct as, like all other musicians now, they need all the help they can get and every album counts. So why not splash the cash and support John at this time, you will get a great sounding album and John will appreciate your support. As Hot Chocolate once sang Everyone’s A Winner!
In this piece John talks to John Hackett about his latest album, a collection of songs recorded during lockdown in spring of 2020 in which John plays all instruments and produced and mixed the album on his own. The album ‘The Piper Plays His Tune’ is the result, released on his own Hacktrax label.
John Wenlock-Smith: Morning John, are you keeping well?
John Hackett: Yes, I have been doing quite a few walks with my wife trying to lose the lockdown tummy that has emerged because of watching Netflix at night whilst eating chocolates!
JWS: We have been doing that as well. The dog starts barking at a pigeon outside and is removed out of the way, lockdown, thank goodness it is coming to an end eh?
JH: Yes, it has been a tough time for many people.
JWS: Unfortunately it has, especially for people like yourself who have been without any income for over a year.
JH: I have been fortunate as my wife works from home, so I have been able to do a bit from home.
JWS: Well, I am retired now as the result of a stroke which has left me with vascular dementia but I get support from my local stroke survivors group. I have heard your new album and I like it, it is quite mellow though.
JH: Well, it is a collection of songs that I guess you would say is quite melody driven as I have spent most of my life as a flute player, which basically means you are following the tune.
JWS: So your wife works from home you say?
JH: Yes, she is an administrator for the church and she is particularly good with technology, which has been especially useful.
JWS: I have been listening back to some of the older stuff you worked on, starting with ‘The Geese and The Ghost’ and ‘We Are Not Alone’, then ‘Another Life’ and ‘Sketches of Satie’ with your brother Steve, I like the live CD that came with that album.
JH: Well, that was early days for the band, I think that was about the fourth show as a band, recorded at the Classic Rock Society who were very generous to us as a band, allowing us to record that show for posterity. I suppose that album is a bit more ‘proggy’ than some of the more classical stuff I’ve been involved with, especially the opening track Take Control and also the track Winds of Change, in which Nick Fletcher, our guitarist, gets room to play a little. My Brother Steve said recently that he thinks Nick is the best jazz rock guitarist in the country at the moment. High praise indeed, I do not know if you have Nick’s album ‘Cycles of Behaviour’ but it is a real testament to his playing.
JWS: Yes ,I have that album, I have just done an interview and album review that will be published on Progradar shortly. I especially liked Philosopher King, the longest track on the album.
JH: I am glad you like that one.
JWS: I like long songs, it gives them room to stretch and breathe a little, give me a longer song anytime.
JH: Sounds like a song title, I might use that in a lyric sometime.
JWS: Go for it, you can have that one for free.
JH: Good, I will look forward to reading that John, he (Nick Fletcher) and I have a lot in common. He has spent a lot of time as a classical guitarist and I have spent a lot of my time as a classical flautist, although we both love rock music and we both feel comfortable working in both fields. I used to think that I had to make a choice, one or the other, but Nick and I both feel that they can feed off each other, in that you can apply some of the techniques used in classical pieces in the rock stuff. Really, the rock stuff benefits from playing the classical pieces too, with the rock stuff you are always thinking about keeping it strong and I think that background can really help in with the energy and direction you create.
Nick and I worked together on the ‘Beyond The Stars’ album and he had a vision for the album. It has a fabulous long track, That Ship Has Sailed, on which Nick gets a chance to really stretch out, it is his Pink Floyd moment, his Comfortably Numb, as it were.
JWS: So what was your first love in rock music?
JH: Well I started off as a blues guitarist, my brother taught me House Of The Rising Sun and showed me a few bits, then we saw King Crimson with Ian Macdonald playing the flute and Robin Miller on oboe. That got me into learning to play the flute, which I did at University in Sheffield. In 1978 I joined Steve’s band as a flautist/bass player, recorded ‘Voyage of the Acolyte’, amongst his other earlier albums, and toured extensively with him as part of the band. Good times! we still work together occasionally, usually doing a Christmas show at Trading Boundaries in which I play flute, along with Roger King on keyboards and Rob Townsend on sax, that is always a good venue as the audience are at tables near the stage.
JWS: Yes, we have not got to Trading Boundaries yet as it is too far from where we are in Cheshire, although I do have a Downes Braide Association album that has a live show from Trading Boundaries with it.
It certainly looks like a great little venue; we have seen you with Steve Hackett a few times on his more recent tours in Manchester, often with Amanda Lehmann in tow too. I suppose Sheffield to Manchester is only about an hour away?
JH: Yes, not too far at all and it is always great to be a part of Steve’s shows, I really enjoy those appearances.
JWS: Obviously gigging is coming back slowly,
JH: We have our first gig in August at the 1865 in Southampton.
JWS: Are you playing in Bilston at the Robin 2?
JH: Yes we are playing there as part of an all-day festival.
JWS: Will there be a new John Hackett Band album soon?
JH: Yes, I certainly hope so, we need to do something soon, watch this space.
JWS: Have you had your vaccinations?
JH: Yes, I had those at the Sheffield Arena, I am not sure if the others have had theirs yet, I guess we will find out soon enough. I had to take my shirt off and I was wearing a John Hackett Band T Shirt and the nurse said what’s your T shirt and I said it’s my band, I said I’d always hoped to get to Sheffield Arena as a band appearing, not as an OAP getting vaccinated!
JWS: You have some nice guitar playing on the album.
JH: Thank you, I was listening to an old Tamla song and heard some bongo’s and I thought I could do with some of those. I went out shopping and I found some in Lidl, I thought that was a sign to get on with it!
JWS: Would you do another album in that way?
JH: I would not rule it out but not yet.
JWS: Well I think that’s all I must ask you about, thanks very much for talking to me and enjoy the rest of your weekend.
JH: Yes, Thanks for your time John, I’ll drop you an email later, so you have my email too, nice talking with you.
‘The Piper Plays His Tune’ was released 18th November, 2020.
I first came across the music of Kansas on an old episode of The Old Grey Whistle Test where a track from their then new album, ‘Kansas’, was played. The song in question was Journey From Mariabronn, this was played against the backdrop of a black and white cartoon and I was very taken with it.
It was not until a few years later that I managed to acquire a copy of that album and enjoy the fine music that its grooves contained. Quite a few years later I came across their new album via a promotional vinyl version of ‘Point of Know Return’ with its fabulous sleeve of a ship falling over the edge of the world.
Kansas have been one of my favourite American bands since those early days, I even used to have the ‘Point of Know Return’ album cover on an etched mirror that sadly is no more. Along with Styx and Journey these were the holy trinity of American Rock for me, I still relish any new material that Kansas make and I am eager to see them live again having first seen them at Walt Disney World in the early 1990’s when Steve Morse was in the band, as was Steve Walsh, both of whom are no longer involved. Nowadays the band is fronted by Ronnie Platt (ex-Shooting Star, another class US band in a similar style to Kansas). This live album brings the whole of the ‘Point of Know Return’ album together with some other deep cuts from the extensive catalogue that the band have developed in the last 47 years. Many of the songs have been staples in their live shows since the album was first released in 1977, but here you get the whole album live in one show played in the original order.
If you like Kansas then this album will not disappoint for it shows very clearly how excellent the calibre of material the ‘Point of Know Return’ album contained then and how well that it still stands up today, over 40 years after it was originally recorded. Ronnie Platt is in very fine voice throughout, okay there may be a few missed or muffled notes but, overall, this stands good comparison to the version on earlier live Kansas releases and can stand proudly next to all those albums.
The album has a good selection of some lesser performed Kansas material including songs from the ‘Freak of Nature’ album from the 1990s and a rare outing for Two Cents Worth from the ‘Masque’ album of 1975 and a couple of more recent tracks from ‘The Prelude Implicit’ and ‘The Absence of Presence’, cramming 22 slices of distilled Kansas magic onto 2 CDs.
The album falls into 3 sections, Tracks 1-8 on CD 1 are the deep cuts, CD 2 Tracks 1-10 are the whole of the ‘Point of Know Return – Live & Beyond’ in order, Track 11 is Carry on My Wayward Son, 12 and 13 are acoustic versions of People of The South Wind and Refugee and the album concludes with an acoustic version of Lonely Wind from the first Kansas album from 1974.
Throughout you get fabulous and meticulous musicianship and exemplary performances and songs that are both meaningful and memorable and with fabulous melodies running through their veins. Kansas are not getting any younger so any chance to hear this band firing on all cylinders is an opportunity that should be embraced, music of this calibre deserves to be heard by all that will listen.
I especially like the reverence with which these classic songs are treated and respected, it is very fitting, and you can tell how much the band appreciate and value this momentous period of their history. This album reflects that with the care and diligence with which they perform these songs once again.
The artwork is as good as that which accompanied the release of the ‘Leftoverture – Live and Beyond’ and fans are in for a real treat. It is a pity that the show was not recorded for posterity on film as that would be something special and much sought after by many fans like me. My shelf is awaiting the arrival of this CD Set in the very near future where it will join the other masterpieces of this truly legendary US Band.
Hot on the heels of their debut full length album, Mountain Caller return with a new EP, Chronicle: Prologue, the follow up and conceptual prequel to their debut
Chronicle I: The Truthseeker. That album was released to wide acclaim, as well as a passionate response from an already devoted fanbase.
Chronicle: Prologue gives further depth and insight into the conceptual story that embodies their output, as well as their own musical journey.
Recorded alongside the debut album, Prologue’s tracks consist of the very earliest material written by the band. Opener Something Stirred From Underneath The Rubble was the true genesis of the band’s dynamic mix of heavy, expansive and progressive metal. It’s the culmination of three distinct musical voices collaborating and letting the music lead them, without aiming for any specific genre. Beyond This Black Horizon follows, a live fan-favourite and the band’s love letter to the riff. Stripped Of All But Purpose closes, with the band exploring the widest ranges of their soundscapes and heaviness, while providing some of the most fist-pumpingly metal moments of their career. These tracks highlight the band’s fundamental make up of ambition, passion, and sheer love for creation.
Conceptually, Prologue leads right up to the events of The Truthseeker. We catch our first glimpse of The Protagonist awakening under the rubble of a great fallen city, and setting forth on an oceanic voyage. After a battle that seemingly claims her life, she regains consciousness on a beach, shipwrecked and rocked by waves of sea and trauma. The band conjure Mastodon expanses of sound melded with Sabbathian riffs, all executed with Tool-like wizardry. With the EP seamlessly leading into the debut album, the band want listeners to consume one after the other, creating one cohesive hour-plus journey. Chronicle: Prologue is a chance to more fully understand the identity of the band and to explore the world they’ve summoned.
On new single ‘Beyond This Black Horizon’, bassist El Reeve comments,
‘Our new EP ‘Chronicle: Prologue’ is a prequel story to the album. It’s about the very beginning of The Protagonist’s journey, and follows her from waking up under the ruins of a devastated city, to meeting the mysterious Mountain Caller with his equally mysterious motives, and travelling across an ocean to the desert shores where we first encounter her in the album, having survived a shipwreck.
In ‘Beyond This Black Horizon’, The Protagonist has secured passage on an old ship. Its course will take her roughly in the direction that’s pressing down on her mind – she must travel onwards, no matter what. The seas become wild and violent, and the ship is battered mercilessly. And soon, through the screaming wind and rain, she can see why. The ship is grappled by colossal tentacles – a weird creature of scales, horns and bones. It’s torn to pieces and she’s plunged into the water, losing consciousness.
‘Chronicle: Prologue’ was recorded at the same time as the album with Joe Clayton at No Studio and mastered by Magnus Lindberg at VRTKL Audio AB. The sleeve artwork is by Taylor Rose.’
Nick Fletcher is not a well known name like Steve Hackett or Steve Morse, yet he carves out his own mark on the guitar world and has done consistently over the years, enjoying a period of solo classical guitar playing, time as a session player and, in the past decade, as part of a duo with John Hackett (Steve’s younger flute playing brother). More recently he has been found wielding the six string in the John Hackett Band with whom he recorded the excellent ‘We Are Not Alone’ album in 2014 and, more recently, the 2018 release ‘Beyond The Stars’, all of which have led Nick to this point, the release of ‘Cycles of Behaviour’ earlier in March this year.
On this album Nick gets a palette on which he can draw his guitar tones as expressively and openly as he has long wished to do, the record giving him a perfect platform. Nick has wisely chosen friends and colleagues to help in this musical crusade and we find the likes of John Hackett contributing flute, piano and vocals along with Dave Bainbridge who contributes Hammond Organ and Mellotron. Tim Harries provides bass guitar, Russ Wilson occupies the drum stool and Caroline Bonnet adds keyboards and backing vocals.
The album consists of 8 tracks of varying lengths with everything written by Nick, apart from Interconnected and Philosopher King which were written with John Hackett. Four of the tracks are Instrumentals with the other four being vocal pieces. The album opens with the instrumental tour-de-force (and title track) Cycles of Behaviour, which is a very jazz fusionist piece complete with a superb organ underpinning from Dave Bainbridge and a steady beat from Russ Wilson.
Nick then begins to shred a la Al Di Moela, the shred is brief and very effective before the piece returns to the strong central melody. A prominent Hammond organ and guitar interplay follows, all highly effective, topped off by some more guitar flourishes before moving into a more subdued section to bring this fine track to a subdued conclusion.
Heat is Rising is the first vocal track with John Hackett’s subtle voice. This song is a love song really, using the heat as a metaphor for a burgeoning relationship and all the joy that situation brings to two people who are in the midst of it all, Nick delivers a quite lengthy and lyrical solo in which he shows some of the tools in his guitar bag with rapid playing and note flurries. This is all supported by Hammond from Dave again the song reconvenes again with a strong chorus being repeated to the close.
This is followed by the more sedate and tranquil tones of Hope In Your Eyes which opens moodily before fabulous keyboards lead us into the gentle melodies being played arpeggio style by Nick, the delicate vocal is then introduced. This song is gentle, like waves on a seashore, and there is a lot of openness in the sound, it is all very laid back and gentle and the tempo is steady and measured and it works with the song as it unfolds. An acoustic interlude with delicate flute from John leads onto a repeat of the chorus and thereafter to a guitar solo from nick that really shines. His use of melody is fabulous and, although busy, the solo is still highly memorable and very lyrical and returns the song to the chorus once again. We are led into a final verse and a further flute passage that is very gentle and Genesis sounding in parts, this brings the song to a gentle and effective finish. A beautiful song, elegantly played by all.
Tyrant and Knave is quite a hard hitting track with a crunchy rock beat to it.The song has a powerful guitar riff that propels it along and a great fiery solo where Nick unloads with both barrels before returning to a more spacious sound, although with an incendiary guitar in tow as well. It is really a full on guitar exercise with lots (and I mean lots!) of ultra-fast and impressive fretwork on display. For a short while, Nick takes his foot off the accelerator turning it into a much slower, but still expressive, section where a growling synth gives way to a far more languid and bluesy solo passage. It is all very atmospheric and ethereal sounding with strong playing making this a most enjoyable segment of the track, the piece then returns to the opening melody to close.
Desolation Sound is another brief instrumental and one on which John Hackett gets free range to play his flute most ethereally with subtle keyboard backing and bass pedals. Nick plays guitar synth, adding extra textures to the track. Then we are on to Interconnected, another vocal track, which has a very pop type feel. The song is very upbeat and light in sound supported by some lovely guitar playing. There is a driving beat which makes it very commercial in sound, all in all a really enjoyable track.
The penultimate track is Annexation which is the final instrumental piece of the album. This piece opens with gentle flute and acoustic classical guitar before Nick takes things electric and plays a strong riff enhanced with excellent keyboards and drums. Nick then delivers a solo that with a lot of style and swagger to it before the song returns to a riffing section followed by another solo, this guy can really play some very fine guitar parts, as this track clearly shows!
The final track on the album, Philosopher King, opens with Nick playing slide guitar over a Pink Floyd sounding backing. It’s all very Dave Gilmour sounding and reminds me of Shine On You Crazy Diamond, it is different but just has that vibe to it. There are great dynamics with a good use of contrasts between light and shade. There is a superb solo section before John’s vocal recommence and you can hear Dave’s organ supporting the song with the fretless Bass of Tim Harries prominent too. A faster rhythmic section follows with stabbing organ sounds driving the track along, there are lots of nods to the prog of the 1970’s too, mainly Genesis and Yes. Everything then slows down and becomes more languid and subdued before more of that evocative slide guitar leads into the next verse of the track.
We return to flutes and classical guitar for about sixty seconds before a bell sounds and another epic guitar solo is delivered, Nick, clearly playing this passage with relish, style and skill. It is quite a lengthy solo here and one that really has room to grow, stretch impresses as it continues until the song finishes.
This song is a masterful example of guitar playing and ensemble playing, and this is the standout track on what is a strong and impressive collection of tracks delivered in various styles but all of which show that Nick Fletcher deserves the accolades from the likes of Steve Hackett, amongst others. He is one to watch to see what he does next. It is an excellent album and one that I recommend that you seek out to listen and enjoy for yourself.
John Wenlock-Smith talks to Nick Fletcher about his new release ‘Cycles of Behaviour’.
1. What are the main themes of the album and why did you choose them?
That’s a good question John. The album has a thread which could be called a concept. The main idea was to have an album that reflected the current state of affairs in the world today. The title hopefully depicts the idea that humanity’s history seems to repeat itself, social and political ideas appear to come around time and again and we don’t seem to learn from the mistakes of the past.
2. Who are your main influences classically? rock, fusion and blues?
I have so many it’s very hard to pick just a few. I think Julian Bream was a huge inspiration for the classical guitar. David Gilmour, Jeff Beck, Allan Holdsworth, Steve Hackett, Andy Latimer and a Norwegian guitarist Terje Rypdal for the electric guitar.
3. You have a fabulous set of contributors on the album. Were these previously known to you and, if so, how?
Yes I have been friends with all the collaborators for many years, the exception being drummer Russ Wilson. Russ and I had never met before the recording of the album, he came recommended by John Hackett who had played with Russ in the Book of Genesis tribute band and mentioned to me what an outstanding drummer he was. He was correct! Russ is the perfect fit for my music, as he has both the prog-rock and fusion techniques well covered and he is very creative.
Dave Bainbridge is one of my oldest friends, we met in 1979 and have worked together off and on ever since on albums and in bands. John Hackett and I have been working together ever since we first met in 2009 either as a flute and guitar duo or in the John Hackett Band. Caroline Bonnett has also been a friend for many years and is a great singer, producer, sound engineer and keyboard player. Tim Harries and I go back to 1983. Tim was Bill Bruford’s bass player in ‘Earthworks’ and having Tim on the album was fantastic.
4. You used to do some work for Integrity Music, how did that come about and would you have worked on anything I may have heard of?
I worked as a session guitarist and as a producer with Integrity Music. I produced a CD with Dave Bainbridge called ‘Breaking of the Dawn’ and recorded 4 solo CD’s for them. I also produced the Celtic Expression series of 6 albums with Nigel Palmer who was the chap who co-produced and recorded the Iona albums with Dave. Over the years I did many sessions and also worked with Dave Bilbrough in his band for about 10 years.
5. Will you be doing gigs to support the album?
In short, unfortunately, no! Some of the material may get aired as part of the John Hackett Band. It’s impossible to get gigs under my own name at the moment. Also, to put together such a band of great musicians would be very difficult for logistical and financial reasons. It’s a shame as some of the music would be great to perform live! But, unfortunately, that’s the reality.
6. What next from you – do you have any projects in the pipeline?
My next project will be released in June. This is something very different as it is a ‘classical flute and guitar duo’ album with John Hackett. It’s the third in a series we have recorded and this one is the music of J.S.Bach, Handel and Vivaldi! The album is called ‘The Goldfinch’ and named after a flute concerto By Vivaldi.
John is the soloist and I play an arrangement of the orchestral parts….it’s a great work and very virtuosic for the soloist, revealing what a fantastic flautist John is. I am also, on the classical side, currently composing new works for the classical guitar to be published this year.
I have already started writing for a follow up to ‘Cycles of Behaviour’. The plan is to get it released next year hard on the heels of Cycles! It will feature the same line up but with more instrumentals and also a couple of amazing singers who I need to keep under wraps at the moment.
7. Which guitarists do you admire and why?
I love the classical guitar and Ana Vidovic is one of my all time favourite players. Her ability to draw you into her performances is second to none!
With the electric guitar at the moment I don’t hear many modern players that inspire me. That said, there are some amazing players around who blow me off the stage any day!! I do think that Allan Holdsworth was a true genius, and is greatly missed, but most modern players don’t have the visceral quality I like in the instrument….too much technique and little emotional impact. Technique is very important but has to be at the service of the musical content. David Gilmour, Jeff Beck and Andy Latimer are my go-to players for that visceral quality.
8. Which musicians would you most like to collaborate with and why?
Well John, that’s a hypothetical question, all the players I would love to work with are very much above my abilities so even if it did happen I would be so in awe my fingers would never make the notes! However, Chad Wackerman is the most incredible drummer who inspires me with his creativity and amazing chops, Rhonda Smith is a great bass player who I admire greatly and Derek Sherinian, the keyboard player, is another favourite prog musician.
9. What guitar amps and effects do you use?
I use Blackstar amps and mainly Boss effects. I play PRS guitars and a customised Fender Stratocaster.
10. Do you have a favourite piece of music?
Wow! That’s so hard to answer! I love so much music that encompasses so many different genres. Classical music it would possibly be Mahler’s 2nd symphony. Prog it would be ‘Selling England by the Pound’ and jazz, anything by Keith Jarrett.
‘Cycles of Behaviour’ was released March 26th, 2021 and can be ordered from:
KANSAS, America’s legendary progressive rock band has released another track from their upcoming, new live album Point of Know Return Live & Beyond out May 28, 2021.
Fans can now stream “Portrait (He Knew) (Live 2019-20) at this link:
The song was recorded on November 16, 2019 at the Durham Performing Arts Center in Durham, NC.
This is the first live album since 2017 for the band that has sold more than 30 million albums worldwide and is famous for classic hits such as ‘Carry On Wayward Son’ and ‘Dust in the Wind,’ to progressive epics like ‘Song for America.’
KANSAS previously released the live tracks “Point of Know Return (Live 2019-20)” (recorded April 4, 2019 in San Diego, CA at the Balboa Theater) and “The Wall (Live 2019-20)” (recorded February 22, 2020 in Knoxville, TN at the Tennessee Theatre).
Point of Know Return Live & Beyond is co-produced by Phil Ehart and Richard Williams, and is recorded and mixed by Chad Singer. The album features 22 songs selected from 12 shows recorded in 2019 and 2020 during KANSAS’s Point of Know Return Anniversary Tour. The setlist includes classic hits, deep cuts, and culminates with the band’s sextuple-platinum album, Point of Know Return, performed in its entirety.
Following the success of the band’s Leftoverture Anniversary Tour, KANSAS followed that tour up with the even more popular Point of Know Return Anniversary Tour. The overwhelming success of that tour, and the previous live album, Leftoverture Live & Beyond, led the band, along with Inside Out Music, to release selected songs from the tour as a live album.
“We knew we wanted to release a live album of the Point of Know Return Anniversary Tour. Being unable to tour for more than a year has given us the opportunity to work on Point of Know Return Live & Beyond and release it for our fans who are missing live concerts as much as we are,” said KANSAS drummer and album co-producer, Phil Ehart. “When we discussed who would mix the album, we thought the best possible person would be the guy who mixes the band live every night and recorded the shows on the road. Nobody knows better how KANSAS sounds live than our front of house engineer, Chad Singer!”
“This live album sounds great,” adds KANSAS guitarist and album co-producer, Richard Williams. “We wanted to make sure this album captures and represents how KANSAS sounds live in concert. Point of Know Return Live & Beyond does just that.”
Along with original KANSAS band members Phil Ehart on drums and Richard Williams on lead guitar, Point of Know Return Live & Beyond, features Tom Brislin on keyboards and vocals, Billy Greer on bass and vocals, Ronnie Platt on lead vocals and keyboards, David Ragsdale on violin and vocals, and Zak Rizvi on guitar and vocals.
Point of Know Return Live & Beyond, will be released May 28, 2021, on Inside Out Music and is distributed by The Orchard. The album will be available as a double CD digipak, triple 180-gram vinyl + 2 CD box-set, and digitally on Spotify, Apple Music, Amazon Music, iTunes, and other fine digital retailers.
Point of Know Return Live & Beyond Track Listing: 1.) Cold Grey Morning
2.) Two Cents Worth
3.) The Wall
4.) Song for America
5.) Summer
6.) Musicatto
7.) Taking in the View
8.) Miracles Out of Nowhere
9.) Point of Know Return
10.) Paradox
11.) The Spider
12.) Portrait (He Knew)
13.) Closet Chronicles
14.) Lightning’s Hand
15.) Dust in the Wind
16.) Sparks of the Tempest
17.) Nobody’s Home
18.) Hopelessly Human
19.) Carry On Wayward Son
20.) People of the South Wind
21.) Refugee
22.) Lonely Wind
When touring resumes, KANSAS will continue rescheduled Point of Know Return Anniversary Tour dates as well as KANSAS Classics tour dates. More information on the tour, including specific Point of Know Return Anniversary Tour dates, can be found at www.kansasband.com.
The band recently announced that their European Point of Know Return Anniversary Tour dates had been rescheduled to 2022. The full list of dates can be found below:
11 October 2022 – Amsterdam, Netherlands: Carre Theater
12 October 2022 – Hamburg, Germany: Docks
14 October 2022 – Helsinki, Finland: Culture House15 October 2022 – Tampere, Finland: Tamperetalo
17 October 2022 – Stockholm, Sweden: Cirkus
18 October 2022 – Oslo, Norway: Sentrum Scene
20 October 2022 – Berlin, Germany: Tempodrom
22 October 2022 – Bochum, Germany: Ruhrcongress Center
23 October 2022 – Brussels, Belgium: Cirque Royale
25 October 2022 – Paris, France: Olympia Theater
28 October 2022 – Frankfurt, Germany: Jahrhunderthalle
