Author: martin

VOIVOD – Announce new album “The Wake” and European tour!

Canadian progressive sci-fi metal innovators VOIVOD are not only celebrating their 35th band-anniversary, but have also just wrapped up studio-work for their upcoming new studio album entitled “The Wake”. Expected for a late September worldwide release via Century Media Records, “The Wake” is the highly anticipated successor to 2013’s “Target Earth” album and the 2016 mini-album “Post Society”

VOIVOD drummer Michel “Away” Langevin checked in with the following comment:

“We are thrilled to let you know that our new album, “The Wake”, is completed! The music is like a futuristic prog thrash metal trek with many twists and turns, and the story involves the usual Voivodian topics: disasters, chaos, conflicts, strange plots and alternate consciousness. We are excited with the result and can’t wait to get the material out to you this fall!

Also, try to catch us when we tour Europe in September and October. It will be a great opportunity for the band to test some songs from our upcoming album.”

Here is a list of the comprehensive European run, which will feature the following rotating support acts: Maggot Heart (from 7th until 16th Sept), Nightrage (from 18th until 26th Sept) and Bio-Cancer (from 28th Sept until 20th Oct):

VOIVOD – European Tour 2018:
07.09.2018 Prague (Czech Republic) – Futurum *
08.09.2018 Poznan (Poland) – U Bazyla *
09.09.2018 Warsaw (Poland) – Hydrozagadka *
10.09.2018 Krakow (Poland) – Kwadrat *
11.09.2018 Bratislava (Slovakia) – Randal Club *
13.09.2018 Cluj-Napoca (Romania) – Flying Circus Pub *
14.09.2018 Belgrade (Serbia) – Elektropionir *
15.09.2018 Budapest (Hungary) – Durer Kert *
16.09.2018 Vienna (Austria) – Szene *
18.09.2018 Bologna (Italy) – Locomotiv **
19.09.2018 Rome (Italy) – Largo **
20.09.2018 Milan (Italy) – Santeria **
21.09.2018 Winterthur (Switzerland) – Gaswerk **
22.09.2018 Seyssinet Pariset (France) – Ilyade **
24.09.2018 Barcelona (Spain) – Boveda **
25.09.2018 Madrid (Spain) – Nazca **
26.09.2018 Porto (Portugal) – Hard Club **
28.09.2018 Marseille (France) – Jas’ Rod ***
29.09.2018 Paris (France) – Petit Bain ***
30.09.2018 Nantes (France) – Ferrailleur ***
02.10.2018 Southampton (UK) – The Joiners ***
03.10.2018 Cardiff (UK) – The Globe ***
04.10.2018 Leeds (UK) – Temple Of Boom ***
05.10.2018 Glasgow (UK) – Cathouse ***
06.10.2018 Manchester (UK) – Rebellion ***
07.10.2018 London (UK) – Underworld ***
09.10.2018 Brussels (Belgium) – Magasin 4 ***
10.10.2018 Amstelveen (The Netherlands) – P60 ***
11.10.2018 Eindhoven (The Netherlands) – Dynamo ***
12.10.2018 Cologne (Germany) – Luxor ***
13.10.2018 Hamburg (Germany) – Logo ***
14.10.2018 Copenhagen (Denmark) – Pumpehuset ***
15.10.2018 Stockholm (Sweden) – Klubb Nalen ***
17.10.2018 Helsinki (Finland) – Tavastia ***
18.10.2018 Tampere (Finland) – Klubi ***
20.10.2018 Oslo (Norway) – John Dee ***

Support bands:
* Maggot Heart (from 7th until 16th Sept)
** Nightrage (from 18th until 26th Sept)
*** Bio-Cancer (from 28th Sept until 20th Oct)

Previously, VOIVOD will also appear at selected festivals in North America as follows:

VOIVOD – Live 2018:
29.06.2018 Jonquière (Canada) – Jonquiere en Musique Festival
https://www.jonquiereenmusique.com/programmation
29.07.2018 Montreal (Canada) – Heavy Montreal Festival
https://www.heavymontreal.com/en/artists
08.08.2018 Lévis (Canada) – Festivent
https://festivent.ca/artistes/
18.08.2018 Las Vegas (USA) – Psycho Las Vegas Festival
https://www.vivapsycho.com

More details and news and VOIVOD and “The Wake” following soon…

VOIVOD line-up:
Snake – Vocals
Chewy – Guitar
Rocky – Bass
Away – Drums

VOIVOD online:
http://voivod.com
http://www.facebook.com/Voivod

Review – Galasphere 347 – s/t – by Roy Hunter

I’m old enough to remember that way back in
the 1960’s I loved a children’s program called
“Space Patrol”… The main characters flew
around the Solar System in a craft called the
Galasphere 347… And there ends any
similarity with this grand musical offering
from a new Anglo-Scandinavian band!!

The combined members of Motorpsycho, White Willow and Änglagård (Ketil Vestrum Einarsen, Jacob Holm-Lupo & Mattias Olsson), along with Stephen
Bennett, have come up with a trio of super-melodic tracks here…

Track #1 – The Voice of Beauty Drowned (10:43) kicks us off quietly and
builds into a tour de force of symphonic prog beauty!! The “beauty”
here was never drowned… The mixture of harmonic vocals, guitars and
keyboards I find very uplifting – all held together with a melodic bass
line and measured drumming. KVE’s flute soars and searches out
tuneful heights, together with the “prog” ingredients of key-changes,
time changes, we have a special piece of music that I’m sure will be a
benchmark others will seek to emulate!

Track #2 – The Fallen Angel (15:35) Perfection!! A relaxed beginning with
an overlay of chiming guitars and soothing keys… The lyrics narrate a
tale of loss and woe but aren’t depressing in any way… “Reach out”
they urge us and yes, the proggy formula of guitar and keys do just
that!! The inclusion of a sublime piece of brass sets the tune off to a tee!
More virtuoso key work interspersed with harmonies from this talented
gathering of musicians brings this longest track to a fantastic finish!

Track #3 – Barbarella’s Lover (15:18) A ballad of heartbreak and elation
together? “Passion always gets us in the end…” The tried, tested and
perfected combination of excellent musicianship, song-writing, and
delivery leave us wanting more!

I hope this is only the first of many more recordings to come from
Galasphere 347…

This album, only in my possession for a few hours, has already
become a contender for my album of the year!!!

Released 20th July 2018

Pre-order the album from Karisma Records here:

https://www.karismarecords.no/shop/galasphere-347/

Also available from bandcamp here

Review – Thorsten Quaeschning – Cargo (OST) – by Jez Denton

Reviewing a soundtrack album without having seen it in the context of the film it supports is an unusual process. How can you judge whether it is successful or not in achieving what the music sets out to do? It could be an amazing work, but not fit the film; or the opposite could be true, it could be awful music but fit the film fantastically. And indeed, taking the view of a filmmaker commissioning a soundtrack, how do you know whether a musician or composer will be able to support your work? How do you choose who will do that job for you the best?

Over the years there have been many artists, composers and musicians who’ve been able to work with filmmakers to create wondrous soundtracks that add to, compliment and help tell the stories in the films they accompany. At the time of the Oscar’s I wrote a blog on my own website:

http://tarkablowpigmusic.com/2018/03/ten-movie-themes/

about ten great movie soundtracks from the likes of Eric Coates, John Williams, Ryhuchi Sakamoto and Hans Zimmer who, over the years, have created some of the most iconic movie soundtracks of all time. To that list I should also have added German Electronic Techno-prog masters Tangerine Dream who, since their inception in 1970, have, along with their own original work, created soundtracks for films as diverse as The Sorcerer and Risky Business. Since original leader Edgar Froese’s death in 2015 the band has been led by Froese’s anointed successor Thorsten Quaeschning who was commissioned to write and perform the score for the new film Cargo.

Cargo, as described by writer and director James Dylan, is a taut thriller that tells a bleak but compelling story of a man trapped in a shipping container with just a mobile phone and 24 hours in which to raise ten million dollars to save his life. And though I haven’t yet seen the film, Quaeschning’s soundtrack does develop and soundtrack the emotions I’d expect the main character, played by Ron Thompson, to go through. Loneliness, despair, franticness, dashed hope and determination are all feelings that are explored by the minimalistic music created.

There is a sense of time slipping away slowly, a claustrophobic quality of being suffocated by the environment, around the main protagonist. This is a soundtrack that builds and builds, that reaches crescendo’s of hope only for those feelings to slip away in soft tumbles of quiet introspection. With knowing the premise of the story listening to this soundtrack allows the listener to imagine the story being told; like when I read a book I imagine which actor I’d choose to play the characters I’m reading about this album helped me build a picture of the visuals I’ll see when I do eventually watch the film.

As a fan of Tangerine Dream, as those of you who saw my review of their recent ‘Quantum Gate / Quantum Key’ album, the continuation of Edgar Froese’s vision by Quaeschning is work I really rate and this album is a fantastic continuation of that great legacy. But is that enough when judging it as a soundtrack album? For me the only question is, “Does listening to this album make me want to watch the film?” To which the answer is a resounding yes; I just hope the film can live up to the high expectations this fabulous work has given me.

Released 4th May 2018

Order the album from Amazon here

Review – Stone Angel Syndrome – Discovery – by Progradar

“Discovery is a conceptual piece, a journey through time and space, but also a journey through our own lives. The music is progressive with moments of heaviness,ambient elements and gentle, emotional soundscapes fused with electronic drums.”

And so says the PR information for Stone Angel Syndrome’s debut release, one I’ve had the pleasure of seeing come to fruition for Kevin Burlison who, along with Dave Blackburn, is the driving force behind this interesting project. The album was written while Kevin was going through some difficult experiences in his life (I’ll say no more as that is not my story to tell) and you can tell he has put his heart and soul into it.

Kevin provides keyboards, synths, piano, harpsichord and hammered dulcimer, Dave all the electric and acoustic guitars. Martyn Leckenby is now the full time bassist and also helping on this release were Andy Plemper (sitar) and Chris Davison with vocals on the title track and who also provided mixing duties.

‘Discovery’ is a challenging release, intelligent music that takes some digesting and understanding. The ambient arrangements are reminiscent of Tangerine Dream and Jean Michel Jarre (just check out (and the planets dance) in the Dark Eternal World and you’ll see where I’m coming from), floating in a vacuum with the whole Universe in front of you, your mind an open book.

The band have thrown in a bit of a curveball on the first two tracks, A shadow over sunrise & Trans-lunar express, where the lush textures and atmosphere segue into something a lot harsher and darker, like a jam session involving Edgar Froese and an early iteration of King Crimson. The music jars and crashes creating a stark and demanding soundscape that really asks questions of the listener. To my ears it works incredibly well but, to be fair, it is not for the faint of heart and your heart rate does come back to normal when the wistful scenic music returns.

The only vocal track on the album is the title track, Discovery, which closes this intriguing and soul-searching musical journey out with something more akin to classical neo-progressive rock. It’s a calming and contemplative piece of music that lends an almost spiritual feel to the album and left me in an incredibly thoughtful and reflective frame of mind.

A collection of songs written from an intensively personal point of view that leaves a raw and honest feel to an album that requires more from the listener than you would normally expect. Ultimately it is an incredibly rewarding experience if you’re prepared to go beyond your usual boundaries and I highly recommend it.

Released 11th May 2018

Order the album from bandcamp here

Alizarin Announces Debut Album and Track Listing

LOS ANGELES, CA – June, 2018 – Progressive rock trio Alizarin, featuring Josh Kay on guitar, Jon Damon on drums, and Steve Ostaszewski on bass, have announced their debut album ‘Cast Zenith’ and revealed the cover art, along with the track listing. The album is set to be released June 27th, 2018 in both CD and digital formats.

‘Cast Zenith’ was tracked both at Big Scary Tree Studios in Sunland, CA and at the Alizarin home studio in May, 2018. The seven tracks cover a wide spectrum of instrumental sonic landscapes and emphasize the melodic journey over intense technique (though the album does offer plenty of head-imploding technical jargon for the speed fiends). Consider if King Crimson and Opeth had a baby but were forced to raise it outside the city, due to an overabundance of djentrification. This may be a place to start but Alizarin is a group that strives to create compelling music that defies rock conventions.

The track listing for Cast Zenith is as follows:

  1. Faint Home
  2. Anomaly
  3. The Vast Enigma
  4.  The Window Afar
  5. Cast Zenith
  6. Gethsemane
  7. Luminous Apparitionhttps://alizarinband.bandcamp.com

    https://www.facebook.com/alizaringroup/

    Instagram: @alizarinband 

    Band picture by April Jones.

Review – Mike O’Donovan – No Time Like The Present – by Progradar

FOUND – Somewhere in Limerick – The Spiritual Successor to Van Morrison!

Yep, after listening to the debut release from highly regarded Irish singer songwriter Mike O’Donovan, I really could see that as a headline in a mythical Irish entertainment rag.

‘No Time Like The Present’ was recorded in Limerick, where he was born and raised, and spans many of the styles that have influenced Mike down the years, including the aforementioned Mr Morrison. Just listen to the opening track Underground and you cannot help but hear the legendary Irish musician and that sound and influence is at the heart of this involving, warm and nostalgic collection of songs.

Mike’s voice also has that halting character that infused Johnny Cash’s vocals in his later years, no more so than on Ghosts and If There’s A Time. The stellar supporting cast of musicians add some real class and polish to the songs too with some wonderful guitar work, brass and harmonica giving a real roots music feel.

There really is something for everyone on this album, the Mariachi hued It Was On A Night Like This, the 50’s smooth jazz rhythms of The Dancer and the elegant Santana guitar that highlights Distant Conversation but, for me, it’s Mike’s soulful vocal that makes this record such a good listen.

A debut that has been a long, long time coming, ‘No Time Like The Present’ is a wonderful collection of songs that shows a songwriter hitting his peak and you can hear the joy and love in every note.

Released 1st December 2017

Download album from cdbaby here

Order CD from the Irish Baha’i bookshop here:

http://irishbahaibookshop.ie/product/no-time-like-the-present/

 

 

Review – Raging Twilight – s/t – by Progradar

The 1970’s in the US was a real melting pot of influences that produced some incredible music and defined the sound for the decade.Take your Neil Young, Eagles, Stephen Stills, Willie Nelson and the like and the blend of country, blues, gospel, folk and rock that melded into the sound of Americana that is still loved to this day.

Transplant that sound into the thriving live music scene in Glasgow and you have the possibility of some seriously impressive music. The competitiveness that this creates gives a spin-off where only the very best rise up through the ranks in true ‘spirit of survival’ fashion. Raging Twilight have demanded attention due to finely honing their sound and the playing pedigree of the musicians involved. This has given them the due respect and respect that has been properly won.

Their self-titled album is full of impressive tracks that take their cues from that pivotal 70’s sound mainly due to the extensive travels through Canada and the southwest USA of founder member Jack Law, who formed the band with Dougie Harrison.

The influences come flooding in from the first notes, Don’t Want A Lover channeling Neil Young, the bluegrass simplicity of Old Glass Jar  and Hope Sails The River with it’s Celtic hues and hints of The Pogues. The whole album is a wonderful musical journey through music that has influenced a generation of listeners and is an enthralling ride.

I’ve recently got into the solo work of Stephen Stills and can hear subtle hints of that amazing musician throughout, intentional or not. Dust Bowl Rust Belt Blues, Chemical Jayne, The Still with their elegant guitar and haunting vocals, it’s a nostalgic look into the past that leaves you in a wistful frame of mind.

Then there’s Nothing’s There, a superb tune full of English eccentricity that reminds me of The Travelling Wilburys, a real grin inducing song!

If you’re a fan of superbly constructed songs that take their influence from those greats of the past but are given an up-to-date flavour then you have opened the right door. Come on in and enjoy the ride!

Released 16th April 2016.

RAGING TWILIGHT – Raging Twilight (aRTee Records)

 

Review – Matt Baber – Suite For Piano And Electronics – by Jez Denton

Whenever I get a new album through to review from the great guys at Progradar and Bad Elephant Music I tend to download it onto my phone and put the headphones on to listen whilst I walk my dog in the morning. It’s a time, as the world around us comes to life, for reflection and to empty troubles and worries from the previous days and prepare for whatever is going to be thrown at us. And it’s a time when I can drift off to wherever the music I’m listening takes me, thinking about the images and feelings that are inspired and where I draft, in my head, these reviews I write.

This morning’s walk with Mungo was an enriching experience as the debut solo release, ‘Suite for Piano and Electronics’ by Matt Baber created an ambience that complemented our early morning enjoyment of the countryside around our home in North Oxfordshire. Baber, with reference to his influences such as Steve Reich and Keith Emerson, is a pianist and keyboard player of some sublime skill; the music he creates has a simple beauty and flow that is evocative and moving. It is not easy to categorise this music, as Baber himself says in Bad Elephant Music’s press release, but it’s all the better for that, this is music that gives the listener the scope with which to enjoy it how they wish.

When I was a kid I used to be inflicted, by my dad on Sunday morning’s, with easy listening piano ‘lift’ muzak from the likes of Richard Clayderman and that gave me a distrust of anything piano based. However, in recent years, I have found a new love for this instrument through the work of the likes of Rick Wakeman and Tony Turrell who have both released fabulous albums of piano playing. Baber’s album fits neatly into that new love I have.

As I walked across the fields in the early morning with my dog, two contrasting pieces of music came to my mind. Firstly, the work of the likes of Vaughan Williams and Elgar, pieces of work very much inspired by the environment around them with Baber’s suite having the feel, if not necessarily the style, of something quintessentially English in its backbone. The second point of reference for me, and which is the highest compliment I can pay Baber, is that, once I finished this album, the piece of music I needed to listen too was the theme from the film, Merry Christmas Mr.Lawrence, Ryuichi Sakamoto’s hauntingly beautiful piece. The lifts and drops in style and tempo on this album create that same beautifully evocative wonder as Sakamoto’s masterpiece, it truly is that good.

Matt Baber has created here an album that is, as Bad Elephant’s David Elliott says, ‘…intelligent and melodic stuff, easy to fall in love with.’ I certainly did, I’m sure people who take the time to listen to this will do too. Put it on your headphones, take yourself and your dog, if you have one, for a long, long walk in the fields and countryside and immerse yourself in the beauty around you and in your ears.

Released 15th June 2018

Order the album from bandcamp here

Review – GEPH – Apophenia – by Progradar

“Apophenia is he experience of seeing patterns or connections in random or meaningless data, the term was coined by the German neurologist, Klaus Conrad.”

Now we’ve got the lesson out of the way, ‘Apophenia’ is also the second album from cutting edge Boston based instrumental progressive jazz metal trio GEPH. The group consisting of Josh Goldberg and John Tyler Kent on Chapman stick and Josh Merhar on drums released their debut self-titled album in March of 2016.

Let’s get one thing clear, I’m a big fan of the first release going so far as to say,

“…you end up with a really intense and powerful listening experience that makes you think and it is all the better for it. GEPH is a band worth watching as they really should be going places!”

So this new collection of tunes has a lot to live up to. I won’t ramp up the tension too much but, suffice to say, I was in no way disappointed…

The intense jazz/metal/prog fusion of opening track Macroaggressions gives a pointer to what is to come, the intricate stick work between Goldberg and Tyler Kent instantly mesmerises you and Merhar’s obvious skill on the drums adds an off-kilter counter balance. It’s a deliciously dark piece of music that leads on the path to temptation. Whole Body Headbangadds mystery and intrigue in a chilling fashion, there is definitely a sombre, even sinister, feel to the music on these first two tracks and I like the intrigue it conveys.

The haunting, simple grace of Little Guy is a wistful contrast tot he previous tracks, just lose yourself in the near three minutes of ambient music and let it wash over you, leaving a carefree atmosphere. It segues perfectly into the laid back grooves of Get Your Insignificance, to my ears a track that defines why I like this trio so much. The Chapman Sticks deliver a real cool and collected sound and the staccato style of the drums a perfect accompaniment as the tempo increases.

“We kept what we thought worked on the first album all the while trying out new sounds, directions and ideas. The results feel much more organic to me, and the whole album feels as though it really stays with you. This is the best collection of music I’ve been a part of yet.” – Josh Goldberg.

The stylish sounds keep on coming with the urgency of Mourningstar the next funktastic track for your ears to enjoy. There’s an edgy, almost free-form jazz beat to the music and the baroque style to the stick play enthralls from beginning to end. That earlier dark and labyrinthine vibe returns on the gloriously moody W.W.F.D, near nine minutes of mystic, arcane and almost dystopian sounds that really get under your skin and leave you with a very uneasy feeling indeed.

The album closes with the space jazz/metal grooves of Back From Space Earth and the guys really jam out on this elegantly psychedelic tune that has your toes tapping and your head nodding to the rhythm. It’s tripping music for the jazz/prog generation and has a nostalgic smile in every note.

To my ears GEPH have taken everything that was good about the first album and given a coat of polish and added sophistication to deliver a collection of songs that intrigue and impress on every level. They’ve lost that raw, brash edge and matured into a very fine group of musicians who certainly know which direction they are headed in.

Released 6th July 2018.

Check out the band’s website for news on pre-orders coming soon – here

 

 

Review – Glass Hammer – Mostly Live In Italy – by Progradar

“While it’s standard practice for bands to edit live material before releasing it, we knew going in that the guitar tracks would need replacing. We viewed that as an opportunity to do something really unique with this album, namely, adding some new ideas to the mix while preserving the integrity and energy of the live show.” – Glass Hammer co-founder Steve Babb.

That explains the album title then, glad that’s out of the way! ‘Mostly Live In Italy’ represents Glass Hammer’s first-ever concert in Italy at the 2 Days + 1 Prog Festival in Veruno and they were determined to create an incredible memento from that experience that their fans would love.

It features nearly all of the band’s amazing ‘Valkyrie’ album, a wonderful treatise on the horror, fear and eventual hope of World War 1 along with nearly twenty minutes of classic Glass Hammer material.

The symphonic introduction raises the hairs on the back of your neck and then the instantly recognisable duo of Steve Babb’s bass and Fred Schendel’s keys take over as we move into the smooth sounds of The Fields We Know and the energetic tones of Golden Days where the guys also get to show their instrumental chops, Susie Bogdanowicz’s elegant vocals stamp their authority on proceedings immediately. From the first note you know that this is going to be a cultured live album, taking all that’s great about the studio releases and adding that edgy, immediate feel that you can only get from a live setting. There’s a nice flow to the music and you feel you are being drawn into the actual performance.

One of my favourite tracks from ‘Valkyrie’ is No Mans Land and this domineering, dread inducing song is giving a haunting treatment on the live stage, a powerful statement that lives with you long after it comes to a close. Nexus Girl, Fog of War, Dead And Gone – they all hold you in rapt attention, Susie’s stage presence coming across in her regal vocal delivery and the musicians just excel in front of a live audience. This is a band at the height of their powers and sure of their place in the pantheon of prog rock bands, just listen to Eucatastrophe and you’ll see what I mean.

A welcome addition to the tracklist is the wonderful The Glass Hammer Melody – Chronos Deliverer/If The Sun which had me grinning from ear to ear and picking out the parts of classic GH songs from the years gone by, the close out is just magical, the keyboards and Aaron Raulston’s drums bringing the piece to a crescendo and the vocals delivering the classic lines,

“When the morning comes, when at last the sun shines clear, I will hear you singing…”

It’s utterly spine tingling and then we finish off with a high-energy, up-tempo version of Hyperbole from 2009’s ‘Three Cheers For The Broken Hearted’. Here the band really sound like they are most definitely ‘on it’ and it is a vibrant end to what has been an utterly involving near seventy five minutes of ‘mostly’ live music.

Once again, the seminal US progressive rock band Glass Hammer have delivered on their promise, ‘Mostly Live in Italy’ is progressive rock at its majestic best in an incredible live setting, what more could you possibly want?

Released 18th May 2018

Order the live album from Glass Hammer’s webstore here