Author: martin

Review – OH. – Metallia – by Progradar

“I have an idea that the only thing which makes it possible to regard this world we live in without disgust is the beauty which now and then men create out of the chaos. The pictures they paint, the music they compose, the books they write, and the lives they lead. Of all these the richest in beauty is the beautiful life. That is the perfect work of art.”  – W. Somerset Maugham

Think about that quote for a moment, it is telling us that all of the greatest things that have ever happened in art are not due to order, they are due to the beauty that can be created from and by disorder.

Greek multi-instrumentalist songwriter and musician Olivia Hadjiiannou (more commonly known, by her initials, as OH.) has created some quite intriguing and wonderful albums that stem from a certain disorder, if not completely but, with her new release ‘Metallia’ she has finally decided that there shall be no holding back!

Here is OH’s description of this mind-bending work:

‘Metallia’ is an epical prog-metal composition in six parts. A multi-layered sonic piece of ravishing solo electric guitars, time-bending tempo shifts, grooving bass lines and deranged drums. 

This instrumental progressive metal album will reveal its intricacies and hidden depths over time. It will extract from your mind pure visions, to mend your mental pictures, preen presumptions and to elicit an element of the unexpected….

I am sure that this album will not be to many people’s taste but from the first track, the sonic maelstrom of Red Lion, I was hooked by the immediacy and sheer power of the music. The turbulent anarchy of the angry, crushing guitar riffs and drums pounds you into submission but, after each further listen, you begin to recognise the subtleties as well. The high octane thrills continue with Bee although it’s traditional style intro throws you for a few seconds before the scatter gun guitars seek to pierce your soul.

I’m beginning to feel as if I’m trapped in a maniacal musical tornado from which there is no escape, slowly losing my grip on reality and not giving a care in the world that it’s happening. The crunching riffs and almost choral vocal overlays of Androgyny carry on the full throttle aural assault, it’s like being in a performance of Dante’s Inferno but one that is put to music. The thing is, I’m really starting to enjoy this, am I a masochist? no, it’s just that beneath the layer of lawlessness and disorder you can feel an intelligence at play, one that begins to reveal more of itself through the thunderous dynamism of Resurrection.

There’s tribal feel to Dragon’s Kiss as the tumultuous guitars shred the very semblance of your being, the rhythm swaying in time to the music and the hypnotic vocal overtones. This quite incredible musical experience comes to a close with the aptly named Triumph, a short, intense blast that finally removes any semblance of resistance from your soul as you willingly submit to the masterful chaos that surrounds you.

Phew! That is one highly intensive listening experience that, like all the best, gets better the more you are willing to listen to it and understand every nuance and subtle distinction. OH. has really given all of her musical being to us with ‘Metallia’, a powerful statement of intent from this impressive young woman, just don’t say I didn’t warn you!

Released 27th July 2018

Order the album from bandcamp here

 

 

Review – Robert Berry & Keith Emerson – 3.2 – The Rules Have Changed – by Jez Denton

One of the more underrated and occasionally much maligned, outside of those that know, musicians of our time was the keyboard genius Keith Emerson. From being at the very onset of British psychedelia with The Nice and progressive rock with E.L.P., Emerson was both an innovator of new music and interpreter of more traditional and classical works; bringing those works up to date and opening the eyes and ears of multiple generations of listeners and musicians to the possibilities of truly clever brilliantly played music.

Emerson was able to create work that kept alive amazing composers such as Mussorgsky, Bernstein and Copeland and introduced them to new and receptive audiences. Keith was also a prolific writer, performer and musician that led him, in the late 1980’s, along with Carl Palmer, to work with another musician with a prodigious lust for creating music, Robert Berry. This led to a band called 3 and an album ‘To The Power Of Three.’ Despite the critical acclaim the band went their own ways before, in 2015, Emerson and Berry came together again and began to create new music for a reboot of the 3 project, to be known as 3.2.

In 2016 tragedy struck, however, as Keith took his own life at his home in California. No-one can truly say for why he took this tragic step, but, from interviews with his partner, Mari Kawaguchi, the doubts he was having (with all the criticism he was receiving) about his ability to play and perform at the high standards which he set himself was, obviously, weighing heavily on his mind. But what is for sure, is that his untimely death left a hole in the musical world and for Berry not only that, but also a body of work for which a decision was to be made on what to do with it.

Thankfully Berry, after a long period of contemplation and grieving, was able to take the snippets of melodies recorded over the telephone, the arrangements written and shared between them, and to put them together not only in tribute to, but also a celebration of Keith Emerson’s life and music. The first thing to say is that this is a ‘proper’ album. It isn’t scratchy recordings or half formed demo’s put out to ‘cash in’ on an artists demise; it isn’t the hackneyed old cliche ‘great career move’, it is a proper album of eight great songs put out with Keith Emerson’s artistic aura breathing through every chord, bar and note. Robert Berry has crafted an album that reads like a love letter to the unique talent that was Keith Emerson. It is full of the trademark keyboard organ sound that marks out a Nice or E.L.P. recording; there’s more than a passing note to The Nice’s version of ‘America’ throughout, there are moments of classical virtuoso playing. I’d say there is (if I wasn’t as cynical a disbeliever as I am) a guiding hand from another place directing the music and production along. Is the spirit of Keith Emerson on this album? well I should say so.

This comes, though, as much from the playing and production of Berry who, obviously, through his friendship and working relationship, has an understanding of where he would have taken this in partnership with Keith, had he been with us all still. This is the great beauty of the album, with production very much in the polished school of late 80’s progressiveness, the sound gives an evocative feel both looking back at a time when Berry and Emerson first worked together and while looking forward to create a fitting end to the career of Keith Emerson.

If, as it has been suggested, Keith was struggling to keep going not knowing whether he would be able to produce and perform work at the standards he set and expected of himself, this album should have proven to him those doubts were unfounded. However, as this album now marks the end of Emerson’s prolific career, it stands as a fitting tribute to and celebration of one of progressive music’s very best exponents, innovators and performers. Wherever Keith Emerson is looking down from, he should be very happy with this work. The fact he is alive and brilliant in this album should also be of great comfort for those of us who loved his music, and, for that reason alone, Robert Berry should be both applauded for and proud of bringing this work to fruition.

Released 10th August 2018

Order the album direct from Frontiers Records here

E.P. Review – Northern Soul Weekender (In Skegness) – by Sleeperman

I’m a bit late with my review of those musical marvels from East Yorkshire this time. July’s E.P offering from Sleeperman is called Northern Soul Weekender (In Skegness), the place in question between the parentheses giving the usual chortle inducing gentle humour that the band is well know for.

So what do we get this time? Well, my friends, something quite radically different and, to use the old Cuprinol analogy, you do get exactly what you see on the tin! That Motown inspired beat and rhythm you’d expect from a Northern Soul track is present in spades and instantly puts a grin on my face. Mr Skinner’s bass playing is tight and precise and drives the song on with gusto and glee, along with Phil Sharp’s energetic drumming.

John Hilton’s lyrics are as wry and pithy as ever and his unique vocal delivery works really well with that 60’s inspired music.

“She’s spent too long clearing up after everyone else, watched too much TV she’s not been interested in, she’s minded the fort when all the others deserted, punch drunk on disappointment she took on the chin…”

Another thing that really puts a smile on my face is Neil’s funky, soul infused guitar playing, this track really has everything you could want and, once again, proves that some of the best and most original songwriting is coming out of my little corner of the world and, you know what, that really makes me proud!

As usual there is a b-side to the single and this time it’s a rather sultry, blues inspired affair with a really laid back tempo and some rather elegant piano playing. John takes the low key approach on his vocals and, in doing so, see the band produce something even more different than has gone before.

IAMTHEMORNING & KSCOPE RELEASE OCEAN SOUNDS ON 19TH OCTOBER

The new intimate studio film from the highly praised Russian duo recorded on a remote Norwegian island.

Following the success of two highly-praised albums on Kscope, Belighted and Lighthouse, Russian duo Gleb Kolyadin and Marjana Semkina are releasing a new studio film shot at and named after a remote recording studio on Giske, a Norwegian island. The footage offers a behind-the-scenes insight into the recording techniques of two of modern progressive music’s most talented composers. The content captures iamthemorning’s live set-up from the last three years, with the setlist consisting of songs from their first three studio albums and an unplugged recording of “Blue Sea”, the first track to be written for their upcoming fourth album and exclusive to this Blu-ray disc.

The studio was designed with panoramic windows that allow the stunning back-drop of Giske Island and the Norwegian Sea to be baked into the performances, a location that is featured in glorious high-definition on the Blu-ray. Marjana commented “It was the most inspiring place for us to work in, surrounded by the sea, mountains, wild flowers and gorgeous Norwegian sunsets. All of the natural splendour we don’t see that often.”

Ocean Sounds builds on the recent success of Kolyadin’s self-titled debut solo album on Kscope, which has been nominated as Album of the Year at the Progressive Music Awards ’18: an honour that Iamthemorning have already achieved with Lighthouse, and which is also backed by Semkina winning Female Vocalist of the Year in the 2016 Prog Magazine Reader’s poll. The pair’s live performances have included the likes of London’s Bush Hall, Ramblin’ Man Fair and the Netherland’s Midsummer Prog Festival.

The audio recording, mixing and mastering were handled by regular collaborator Vlad Avy, the film was produced and edited by Miles Skarin at Crystal Spotlight, and the watercolour artwork was designed by Constantine Nagishkin.

Ocean Sounds will be released as a 2 disc CD + Blu Ray set which includes the film and hi-res audio on Blu-ray; the audio on 180g LP; digitally and is available to pre-order HERE

2 disc CD (audio) + Blu Ray (video) / LP (audio)

1. Inside  [03:30]
2. Scotland 03:37]
3. To Human Misery  [04:05]
4. Romance [02:57]
5. 5/4  [03:12]
6. Touching II [03:53]
7. Os Lunatum  [03:49]
8. Matches  [03:53]
9. Sleeping Pills  [03:17]
10. Libretto Horror [02:04]
11. Chalk & Coal [04:06]
12. K. O. S.[05:51]
Bonus Track on Blu Ray disc only
13. Blue Sea [02:42]

HAKEN announce fifth studio album ‘Vector’; launch fan etching competition

HAKEN, one of progressive music’s most exciting bands, have announced details of their much-anticipated fifth studio album titled ‘Vector’, due for release on the October 26th, 2018. The album was produced by the band themselves, and recorded & mixed by Adam ‘Nolly’ Getgood (Periphery, Devin Townsend Project), with the artwork once again being handled by Blacklake.

The band comments: “On the back of celebrating the 10 year anniversary of our conception, all of us here in the Haken camp are extremely excited to begin this new chapter of our career and share ‘Vector’ with the world.”

The album will be available as Limited edition 2CD Digipak (including instrumental versions), Gatefold vinyl 2LP + CD, & as digital download. You can find the track-listing below:

1.     Clear
2.     The Good Doctor
3.     Puzzle Box
4.     Veil
5.     Nil By Mouth
6.     Host
7.     A Cell Divides

To celebrate the announcement of the new album, the band are opening up a unique opportunity for one fan’s artwork to be used as the etching on the fourth side of the vinyl LP version of the record. Haken are inviting fans to submit their own version of the Rorschach test ink-blot image which graces the album’s cover, and one winner’s art will be picked by the band to be etched into every vinyl copy of Vector.

Submissions are open now, closing on the 10th August, and can be sent to: drrex@hakenmusic.com

Since their inception in 2007, Haken have shown over four previous studio albums, one EP and a live release that they never stand still, merely satisfied to rely on past triumphs. Rather, Haken always look for ways to challenge themselves as musicians and artists, and also to keep the listeners on their collective toes. “We don’t like to make simple music,” laughs vocalist Ross Jennings. “We always aim to defy expectations, and I believe we’ve surpassed what we aimed to achieve with our new album.”

Their fifth studio record sees the band going in a heavier direction with the music. “We’ve always had a heavy influence”, explains guitarist Charlie Griffiths, “but it was obvious from the riffs that were naturally coming out of us early in the writing process that this would be a more metal album. These are some of the most riff driven songs we’ve ever written.” As is usual, Haken produced the album themselves, but for the first time they have enlisted Adam ‘Nolly’ Getgood during the recording and mixing stages. Formerly bassist with Periphery, in the last couple of years he has built a reputation as a fine producer. “We produced the album ourselves, as we always do,” insists Jennings. “But we’re fans of what Adam has done with Periphery, Sikth and Devin Townsend. He has a great reputation for the heavier end of our genre”.

But if this album is musically heavy, then there’s an underlying theme running through the seven songs which is certainly esoteric and fascinating. “The scene is set with the track The Good Doctor, which was a really fun song. Musically it feels like a logical step from ‘Affinity’, but lyrically it’s a bit more theatrical and about as ‘rock opera’ as Haken has ever got”, explains Griffiths. “It’s about a Doctor with an intriguing, perhaps sinister interest in a particular patient. From there the story enters the point-of-view of the patient – who appears to be catatonic, but his mind is sparking with what could be memories, or delusions brought on by the treatment he’s receiving – we leave this up to the listeners to decide. Although we don’t want to give too much away, people who are familiar with our back catalogue will have fun discovering further clues we’ve planted throughout the album. And that’s the challenge for the fans – to find out for themselves their own meaning for ‘Vector’ as an album”. 

Review – Semantic Saturation – Paradigms – by Progradar

Does anybody remember Infectious Grooves?  The funk metal supergroup led by Suicidal Tendencies frontman Mike Muir released a completely bonkers album in 1991 called ‘The Plague That Makes Your Booty Move…It’s The Infectious Grooves.’ It was so out there it made my CD collection and I’ve yet to hear anything come close to that infectious energy that the album contained.

Fast forward to 2013 Semantic Saturation (a progressive rock/progressive metal project founded by Canadian guitarist Shant Hagopian) release their debut album ‘Solipsistic’ featuring progressive metal gurus such as drummer Virgil Donati, bassist Ric Fierabracci and guests; keyboardist Derek Sherinian (ex. Dream Theater) and vocalist Andy Kuntz (Vanden Plas). A dizzying and complex release that has touches of the spirit of Infectious Grooves hidden in its convoluted depths.

After 5 years wait virtuoso guitarist Shant returns with the mind blowing ‘Paradigms’, this time aided and abetted by legendary musicians, drummer Craig Blundell and bassist Kristoffer Gildenlöw. The album also features guest musicians, some of the greatest names in metal, with Derek Sherinian returning to feature on the track Ulterior Harmony, Alex Argento on Carousel of Death and the lovely jazz vocalist Houry Dora Apartian on Empty Whisky Jar.

As instrumental albums go ‘Paradigms’ is an absolute monster featuring such amazing tracks as the powerfully funkadelic opener Mirrors of Confusion and it’s identical twin Carousel of Death which are a real echo of that Infectious Grooves monster of 27 years previous. On the former, edgy, thunderous guitar combine with Blundell’s cacophony of drumbeats and Gildenlöw’s stylish bass drives all before it. It’s a grin inducing roller coaster ride and one you don’t want to get off. The latter takes you on an insane, acid jazz trip through a really warped mind where Alex Argento stands tall like a crazed professor.

The infectious grooves (see what I did there?) of Pareidolia give a moments pause of foot tapping energy before calm is finally restored with the elegance of Empty Whiskey Jar where Houry Dora Apartian adds her sultry jazz vocals.

The riffs and grooves come thick and fast almost giving you no pause to really appreciate the mind blowing musical structures and spellbinding melodies. Personal favourites are the intelligently constructed charm of Until We Meet Again, the otherworldly experience of Disturbance Within and the calm and collected polish of classic rocker Universal.

This magical experience is completed by Where Dreams Have Died, a ten minute journey that becomes Shant’s grand paradigm of musical intrigue and astounding mastery. It is an elaborate, baroque composition that trades on each musician’s undoubted skill and dexterity to deliver a sublime listening experience.

As the last note fades out a small but knowing smile appears on my face as I reminisce back to 1991. ‘Paradigms’ is a wonderfully complex and accomplished piece of work but, deep at its core this album is full of incredibly infectious grooves. Shant Hagopian and your stellar cast of musicians please take a bow for this fantastic achievement.

Released 20th August 2018

Order the album in various formats direct from the band’s website

 

 

Review – Lux Terminus – The Courage To Be – by Progradar

“The best and most beautiful things in the world cannot be seen or even touched, they must be felt with the heart.” – Helen Keller.

To a music mad amateur journalist like me, that statement applies to music just as much as anything else, if not more! When I hear an inspirational new piece of music for the first time, it can really hit me right in the heart and send it soaring with its beauty.

Let’s be honest, we reviewers listen to so much music that it is easy to become jaded and we could say that it would take something very special indeed to inspire us compared to the man (or woman) in the street. That could just be pretentious tosh but, recently, a new album landed in the inbox that really fits what I’m trying to say to a tee. Let me tell you more…

Lux Terminus (translated as “the light at the end”) was formed in 2016 by three musicians with a shared vision to create unique and powerful instrumental music. Their debut release ‘The Courage to Be’ is a powerful first statement from the progressive rock trio,which consists of keyboardist Vikram Shankar (Redemption), drummer Matthew Kerschner, and bass guitarist Brian Craft.

The album features guest performances from several acclaimed musicians: vocalist Anneke Van Giersbergen (ex-The Gathering, Devin Townsend Project, VUUR, et al.), guitarist Timo Somers (Delain, Vengeance), and cellist Raphael Weinroth-Browne (Leprous, Musk Ox).

Put simply, ‘The Courage To Be’ is a groundbreaking instrumental release that takes themes of separation, hardship, hope and transcendence and turns them into an instrumental masterpiece. The incredible keyboard skills of Vikram Shankar are at the forefront of this superbly involving sixty-one minutes of pure musical theatre and that is not belittling the skilled contributions of Kerschner and Craft whose rhythm section adds pure virtuoso drive and impulse.

From the elegantly gentle Prologue: Departure (I), which is part one of a four part thematical musical suite, through the infectious driving grooves of Elctrocommunion, this skillful trio deliver unique and powerful instrumental tracks that just make your heart sing.

There’s intricate and convoluted (Aberration), jazz-funk at its best (Miles Away) and progressive metal, rock, jazz fusion, electronic, and cinematic influences galore, all of which contribute to a dominant first statement from these excellent musicians.

Every track is worthy of praise but the real stand out piece for me is the twenty-one minute orchestrally driven brilliance of the title track featuring Timo Somers. Described as ‘high octane jazz-fusion’, it will literally send your aural receptors into melt down as it ebbs and flows to a manically intense rhythm. I really feel that the band are having as much fun as you can legally have on this track and it’s worth the price of entry alone!

You want your keyboard based progressive instrumental with a more laid back and moody feel? Take Journey (II), Spectral Shapes or The Road Home (III) and the stylish piano and keyboard that adorn them, this album has it all.

To finish, the sultry vocals of Anneke Van Giersbergen grace the lovely Epilogue: Fly (IV), the closing part of our four part suite, a heartwrenchingly beautiful four minutes of pared back delight and a perfect way to close the album out and bring your heart rate back to normal.

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.

Released 24th August 2018

Order the album from bandcamp here

 

 

Review – Regal Worm – Pig Views – by James R. Turner

Let’s talk about eclectic for a moment, shall we?

I have tastes that vary from Abba to Zappa and all points in between, drifting off at a tangent (via The Tangent) taking in psych, rock of the Yes/King Crimson/VdGG variety plus many other gleefully eclectic sounds. That’s not to mention electronica, ambient, classical and many other genres, so when I come across a renaissance man like Jarrod Gosling who bestrides genres and, indeed, disciplines like a multi-media, multi-talented master of all he surveys then, of course, my curiosity is piqued.

I first encountered Jarrod’s music from I, Monster when they blitzed the charts with their single Daydream in Blue, and the mix of pop and rock, darkness and light and sophisticated sounds weren’t just pushing pop’s boundaries, they were redrawing them. Then there was the more acoustic side of Jarrod’s style – The Skywatchers collaboration, followed by stints with Henry Fool. As well as working on the artwork for Tim Bowness’ solo career, Jarrod also found time to form the absolutely brilliant Cobalt Chapel where his gothic folk vision is matched by the vocals of Cecelia Fage (well known for her work with Matt Berry and The Maypoles) not only that but Jarrod announced himself on the new alternative scene back in 2013 with his triumphant Regal Worm debut album ‘Use and Ornament’, followed, fairly closely, by ‘Neither Use not Ornament’.

Now Regal Worm return with the cheekily titled ‘Pig Views’ (named after Jarrod’s studio, which overlooks one of Sheffield’s football grounds – as a fellow Yorkshireman I won’t go into which one, as it might cause an online ruckus and we don’t want that), did I mention that Jarrod was also a Yorkshireman? A true Sheffield original like Henderson’s relish, and as vital an ingredient to any musical dish as Hendos is to cookery.

I’ll stop with the Hendos and talk about the music, I was eagerly awaiting this album, as the last two Regal Worm albums have crossed prog with psych with Jarrod’s inimitable style and charm and have brightened up every record collection they have joined.

This new addition to the family, with it’s stunning artwork and also available as a pink double vinyl set, looks very smart indeed. Artwork, of course, is by the man himself, while he covers all bases musically with guests including Mick Somerset-Ward on alto, tenor and baritone saxophones and flute, Peter Rophone on voice and acoustic guitar, Louis Atkinson on Alto and tenor saxophones, Emily Ireland, Heidi Kilpelainen and Paul Putner on voice and Graham McElearney on harp.

Amongst Jarrod’s musical arsenal are items like Mellotron, Hammond Organ, Rickenbacker bass, Mandolin, Lap steel guitar percussion and many others. This mix of instrumentation, particularly the sax and flute, give this a very English sound, reminiscent of Canterbury scene bands. Throwing in Jarrod’s love of jazz and psych, and his rock sensibilities then all the work combines to create a unique musical delight.

Rose, Rubus, Smilax, Vulkan is a brilliantly arresting opening, with it’s chant style chorus, and the way it builds and segues nicely into Revealed as a True Future Tyrant is sublime and shows Jarrod’s innate musical sensibilities and style.

He also has a knack for a title, and the wonderfully named Rose Parkington, They Would Not Let You Leave is a wonderfully keyboard driven piece where the pulsating and thundering keyboard and the duelling sax propel what is one of the most joyful sounds I have heard on record for a long time.

You hear the other side to Jarrod on the wonderfully atmospheric Jag Vet, that falls under the heading of a section titled Under den Svenska Vintern (During the Swedish Winter) this suite of songs demonstrates Jarrod’s versatility as the acoustic haunting Jag Vet leads into the 3 part The Dreaded Lurg (like I said, Jarrod has a knack of wonderful titles) where his piano and keyboard playing slowly builds up the song, adding layers of sound and, if you’re looking at best multi-instrumentalist for any awards that happen to be going, I reckon Jarrod has to be in with a shot. His use of the flute as a melodic weapon to drive the piece on is inspired, and it’s those touches of flute and sax, bursts of synths and the juxtaposition of sounds that recall more obscure 70’s Radiophonic Workshop soundtracks or the films of Tigon.

This isn’t copying though, this is weaving disparate and eclectic influences into a new musical whole, pulling random strands together to create something new and unique with little hints and nods to the musical journey Jarrod has been on and wants to take you on. As a musician Jarrod has always done something different and interesting with every release, and this is no different, whilst there are hints of the styles that dominate Cobalt Chapel and I, Monster, Regal Worm is its own different musical entity, one that draws you in with some of the most innovative and eclectic sounds I have heard on record all year.

With the wonderful chorus of the almost hymnal and reverent Huge Machine, You Are So Heavy and the albums wonderfully eclectic style and sound, Regal Worm sits at the forefront of the new English alternative scene. If your record collection has room for a Schnauser or a Knifeworld in it and not a Regal Worm then you need to rectify that forthwith.

This is one of the most exciting and original albums I have heard all year and I implore you, if you enjoy well crafted exciting, innovative and eclectic musical journeys then ‘Pig Views’ is the album you need in your life.

Album of the year so far? I reckon so.

Released 13th July 2018

Order the album on CD or Vinyl at bandcamp here

Review – Alizarin – Cast Zenith – by Progradar

“Instrumental, unconventional rock music that leans on the progressive side, whatever that means…

Consider if King Crimson and Opeth had a baby but were forced to raise it outside the city, due to an overabundance of djentrification.”

Now there’s an introduction to a new band that makes you sit up and take notice! Alizarin is an instrumental instrumental progressive rock trio from Los Angeles consisting of guitarist Josh Kay, drummer Jon Damon and bass player Stephen Ostaszewski, three musicians who want to take the unconventional route and they released their debut album ‘Cast Zenith’ on July 20th.

It’s a collection of seven tracks that takes you on a whistle-stop tour of musical styles and tends to defy the usual conventions. Opening song Faint Home sees Josh’s compelling guitar deliver a serious overtone, quite a melodramatic piece of music that lingers in the mind long after. There’s precision, skill and style to these excellent musicians and that is delivered in spades on the explosive and captivating Anomaly, a track that wears it’s Satriani/Vai influences proudly on its multi-coloured and flared sleeves.

The Vast Enigma opens as almost a soundtrack to an 8-bit computer games from the 80’s before blossoming into a powerful and funky song that has a mysterious undertone to it. The contrast in style to the laid back and jazzy The Window Afar is very pronounced, lost in the lazy, hazy days of a hot summer without a care in the world, this elegant piece of music takes the relaxed route to your musical sensibilities.

The drama returns with title track Cast Zenith, dark and overtly dramatic in its delivery and with a nod to the intricacies of King Crimson as Josh, Jon and Stephen show us their musical chops. A headrushing eight minute musical adventure that never lets up and leaves you laughing at the sheer madness of it all. Like ying and yang, the calmness returns with the delicate and supremely elegant Gethsemane, an ode to Josh’s classical guitar skills.

Every good thing must come to an end and this entertaining debut album closes with the near ten minute splendour of Luminous Apparition. Opening with sombre, reverent and hushed tones that draw the listener in to what feels like a musical take on a dystopian tale.

‘Cast Zenith’ is music that has intelligence and depth, music that takes the listener on an involving journey. This is a great start from this impressive trio and one which promises much for the future, Alizarin are a band that we definitely need to keep an eye on.

Released 20th July 2018

Order the album from bandcamp here

 

KSCOPE TO RELEASE OPEN MIND: THE BEST OF BLACKFIELD ON 28/09/18

The best of the peerless collaboration between Steven Wilson and Aviv Geffen. Features 15 essential tracks, including “Blackfield”, “Once”, “Family Man” and “Pain”.

Blackfield is the collaboration between Israeli songwriter and musician Aviv Geffen, and British musician and producer Steven Wilson. The collaboration, extending from their self-titled debut in 2004 to their superb return with album V produced with Alan Parsons in 2017, has proven to be a prolific partnership for creating striking and affecting music.

The pair makes for a formidable musical force; Geffen has worked with legendary producers Tony Visconti and Trevor Horn, has also recently performed with and hosted Jake Bugg, played as support for Biffy Clyro, and was a judge on the Israeli TV show The Voice. Wilson, after a long tenure as the leader of the hugely influential band Porcupine Tree, has since embarked on a highly successful solo career, most recently earning a #3 album in the UK Charts and #2 in the DE Charts, as well 4 Grammy nominations.

This collection, curated by Wilson and Geffen, selects the best works from an impressively rich Blackfield catalogue with each of the five records combining both sweet and tart elements. It’s an uncommonly potent mixture. Perhaps the debut album’s Lasse Hoile cover art—a bottled elixir lurking in the gloomy shadows of an apothecary—signifies that Blackfield is a dark medicine to be administered through the listener’s ear. There’s no recipe on the aged and frayed label of the bottle. Yet some lyrical ingredients can be discerned within the mix: Take a dash of childhood memory, sprinkle in some heartbreak, pour in a drop of blood from an open vein, add a pinch of angry conscience (carefully weighed), puree the dew of a kiss, and then garnish with the bitter tears of adult disillusionment.  Stir carefully and name it after the very first Blackfield collaboration: “Open Mind”.

Steven Wilson – “Blackfield appealed to me because it was a chance to focus firmly on the art of the classic pop song with concise songs and strong melodies, harmonies, orchestration, and a very lush ‘golden’ production.”

Open Mind, featuring new artwork by Hajo Müller will be released on 28th September 2018 on CD / LP  and is available to pre-order HERE

OPEN MIND: THE BEST OF BLACKFIELD tracklisting

1.              Blackfield [04:27] WATCH
2               Family Man [03:37]
3               Open Mind [03:49] LISTEN
4               1,000 People [03:54]
5               Oxygen [03:00]
6               Hello [03:09]
7               Once [04:03]
8               How Was Your Ride? [03:58]
9               Waving [03:56]
10            From 44 to 48[04:31] WATCH
11            Pain [03:47]
12            October [03:31]
13            Faking [03:33]
14            Dissolving With The Night [04:07]
15            End Of The World [05:14]