This second album from French musician Gabriel Keller is an album of two distinct parts, on one hand you have a treatise on the horrors of war seen through the eyes of a soldier on the front line, the other part of the album is much more light hearted in nature and traces the journey of a drop of water from glaciers and the northern lights to the sands of the Sahara desert. It concludes a quest for inner peace and an ode to love. So it is, in essence, quite an interesting musical album ranging from gentle acoustic numbers to heavier Porcupine Tree musical styles.
The album begins with a brief introduction, Why?, which introduces the first part of the album with sound effects of war. Guns, rockets and military sounds set the scene very and this leads into The Letter – Part 1, in which the soldier shares his torment of being on the front line and his mother, who longs for her sons safe return. This track verges between Rush-like guitar sounds and a harder edged sound interspersed with the fine vocals of Emi B. It also has symphonic touches too which makes for a somewhat unusual sound. It is a great sound though with some great guitar fills and solo’s. The Guns Are Approaching emphasises both the futility of the war that is taking place around him and the fact that it is also drawing closer every day. It opens delicately and acoustically before a more punishing riff is introduced, adding a more metallic sound, more like European power metal. This is another strong piece overall and the vocals from Emi B again make a strong impression, as does Gabriel’s soaring guitar solo and playing. The Letter – Part 2 opens with eerie sound effects and a distorted guitar playing harmonics and arpeggios. This is the album’s longest track at just shy of ten minutes duration and has great dynamics among a lot going on. This song also has more than a passing nod to Rush in the guitar playing (shades of La Villa Strangiato). More guitar and power chords are at play here as the track gathers impetus making this the most compelling piece on the album, mixing its styles and sounds in a most satisfying manner.
My Son is a plea for the return of the mother’s son from the frontline. The vocals are superb as they harmonise on this sad plea. No Surrender and Oppression are about standing in opposition to submission in the face of difficulties. The former is a more traditional rock number with definite Rush influences and touches, I’ve noticed this in other albums I reviewed from French outfits like Pryzme. Obviously, Rush made an impact on French musical styles over the years, mainly their post 70’s epic period. The latter song continues this theme of solidarity and resistance, opening with the Cello of Lucie Lacour. This is another harder sounding track with good rhythmic switches in style that really sound great. There is a lot of inventiveness within this track, possibly one of the best for me, after the both parts of The Letter.
We then move into the second part of the album which is more acoustically driven, although the cello is evident in parts. Poussières Eternelles is sung in French and sounds suitably ethereal in style and tone. Your Way has more excellent guitar playing, mainly acoustic with electric embellishments, which sounds really good, I like this track a lot, it’s very positive and uplifting. Change is the album’s penultimate piece and has a real swing to it with long suspended chords that have a jazzy touch to them The great vocals from Emi B again make a good impact. I love how this song shimmers and sways very elegantly making it very cosmopolitan sounding There is a superb guitar solo as well that really sounds excellent. Mahaut is an ode to love. This is a slightly downbeat, subdued piece with lots of intricate guitar fills and is a fitting conclusion to a most interesting album.
‘Hope Despite Everything’ is a very impressive collection of songs with some strong performances and material, all of which are imaginatively portrayed. This album is most definitely worth a listen If you can!
Jordan Rudess is best known as the current keyboard player for progressive metal giants Dream Theater, who he joined over 20 years ago. During this time he has contributed significantly to their ever evolving sound, mainly because of his development company that produces new technologies for musicians.
Jordan is certainly an intelligent and articulate musician who is always pushing the boundaries in some way or another but he is also a solo artist in his own right. This new album, ‘Permission To Fly’, sees him joining forces with a hand picked collection of musicians to make a classic prog rock album. His choice of musical compatriots throws up some interesting choices, Steve Dadaian, by trade a highly acclaimed cosmetic dentist who is also a keen shredder (guitarist), along with Devin Townsend’s drummer Darby Todd. For the vocals, Jordan turned to Joe Payne (formerly of The Enid) who also works for the likes of John Holden, amongst others, while also maintaining his own solo career. Jordan was highly impressed by Joe and reached out to him for this album.
The album opens with The Final Threshold which features a stunning opening keyboard segment full of bombast (very ELP!) which then fades to a gentle piano before Joe begins singing softly but with his very expressive and wide vocal range. The album has just nine tracks (two extra on the initial CD release) and has a mixture of styles from ballads to all out prog rock tracks. Into The Lair is something of an epic track with a very strong vocal from Joe and you can see why Jordan chose him for this project. There is also a great bass solo in this track and a fiery guitar solo by Chilean guitarist Bastian Martinez. This track has it all, storming keyboards, brilliant guitar playing and above it all soars Joe’s sterling vocal performance. Haunted Reverie has discordant and eerie keyboards setting the scene. With its supernatural theme, this is a slightly unsettling track but very well delivered. All the lyrics for this album come from Jordan’s daughter Ariana.
The Alchemist is another longer track initially driven by keyboards. There’s a rather unusual mid-section vocal part which is very different from what you heard before and it’s possibly unhinged or mad, it certainly makes you take notice! The song has a sad ending when the Alchemist realises his life’s work is futile and has accomplished nothing of any worth and he is, after all, just a man. Embers is far more normal sounding and has an excellent piano motif that runs throughout (just like on Bowie’s Life On Mars) and an epic guitar solo that plays out the track superbly. Shadow Of The Moon opens with a very gothic sounding piano and drums. The song is about space exploration and the possibilities that this offers to the world but also of the potential risks we. The track ends with an extended keyboard outworking in conjunction with the superb bass.
Eternal is very much like Dream Theater in places, certainly more familiar territory for Jordan, the opening eventually gets to the vocals at the 2.40 mark! This is another good track, albeit it a tad Andrew Lloyd-Webber in style at times. There is a definite operatic or musical theatre leaning tot he song, albeit with a very prog style musical backing making it most impressive really. For what is a love song, this has some excellent keyboard parts from Jordan. Footsteps In The Snow is a more even tempo track with great lyrics. This track appears to be about the brevity of life and about the memories that remain behind, a rather philosophical track overall. The album concludes with an instrumental entitled Dreamer, full of deep chords and swirls of keyboard voices It is all very ethereal sounding and very stately and a great ending.
‘Permission To Fly’ is a real roller-coaster ride of an album, from bombastic thunder to gentle melodies and all points in between. This is a highly impressive album and one that befits the highly acclaimed Jordan Rudess. Whether this is a one off remains to be seen so, for now, dig in. In places it is totally weird but most enjoyable with it! Highly recommended indeed.
Inspiration can come in many forms and as a result of many different factors and influences, such as a new experience or a new relationship or a trip somewhere new that strikes a chord within. These Inspirations can be worked out in a number of different ways.
Such is the case with this new album from iconic Yes guitarist Steve Howe, whose creative juices were extremely stirred by his purchase of a new keyboard. This meant Steve had to become deeply acquainted with his new purchase to the extent that he composed these tracks for this latest solo album. Solo, although utilising the percussive talents of his son Dylan Howe, with whom he recorded the 2020 release ‘Love Is’.
‘Guitarscape’ is totally instrumental in tone and Steve’s recent acquisition of a Novatron Summit keyboard was the inspirational basis behind the album. As always, Steve offers the listener a variety of styles, both electric and acoustic, performed on a variety of Steve’s classic guitars, a breakdown of which guitars are used for each track are noted in the album’s booklet.
So enough preamble let’s detail exactly what this album offers the listener…
The album commences with the driving electric guitar track Hail Storm in which Steve really cuts loose with some fiery guitar runs and fills. Spring Board has a country music feel to it and, again, shows Steve’s mastery of tone and styling. There is some very technical and proficient playing on display here with the keyboard tones adding warmth and depth. It’s a really fine track that works very well. Distillations is an acoustic number that shows fabulous playing and a sympathetic keyboard sound that gives this track depth too. Up Stream opens with keyboard swirls and electric guitar. The track relies heavily on volume swells and sustained notes and Steve seems to be getting in touch with his inner David Gilmour, as it follows a similar sort of sound, to these ears at least. Secret Mission is another fleet-fingered acoustic track where the really delicate finger work makes for a memorable piece.
Passing Thoughts is another brief acoustic piece that follows a similar line to the previous track withSteve showcasing his impressive skills. Touch The Surface sees Steve using a tremolo effect on his guitar tone, rather impressively it has to be said too! The good thing about this album is that it offers listeners a showcase of Steve’s highly impressive, tasteful and varied guitar styles. In addition, nothing is very long so tracks and styles change rapidly, which is a good thing I feel. Spring Rhyme, in line with its title, has a real bounce to its step. It is a very short, but very fine, track. On Equinox we find Steve playing pedal steel guitar very effectively and Seesaw revisits the acoustic guitar tones in another very brief track.
The keyboard voicing sets the tone for acoustic track Gone West. Steve’s delicate fretwork also supporting the track well. It is the albums longest track and I rather like it a lot. Suma is a brief electric interlude that leads into the album’s penultimate piece, Spring Tide. Another shorter electric track where lots of interesting runs and fills play off good rhyming support from the keyboards and Dylan’s excellent drumming. The album closes with Steel Breeze an electric pedal steel guitar piece that Steve does so well. I like the way he has doubled the guitar at various points, it really sounds great.
‘Guitarscape’ is an interesting and different sort of album for Steve and one that offers a snapshot of where he is now at seventy seven years of age. His prowess and skills thankfully show no significant sign of deterioration or decline, for which we should all being thankful. It is proof that Inspiration is never that far away.
This may not be to everyone’s tastes but the more musically inclined will find much to appreciate here.
Meer are an eight piece Norwegian prog outfit based around the vocals of Knut and Johanne Nesdal (brother and sister) who meld together progressive rock with distinctly pop leanings. In doing so they offer a rather different soundscape, this, combined with the excellent vocals, makes for some rather unusually satisfying music. This album, ‘Wheels Within Wheels’, is their third following on from 2021’s ‘Playing House’ and their earlier debut album, ‘Meer’, from 2016.
Meer have been getting a lot of attention in prog circles of late and this latest release can only aid them in their own musical journey so let’s delve in and see what this album offers, shall we?
I have to say this is the first encounter I’ve had with Meer and whilst not entirely converted to the cause, I certainly do find lots here to enjoy. Opening track Chain of Changes begins with delicate piano lines and some rather subtle electronics before a more strident melody is introduced. It certainly captures the attention with the excellent vocals of Johanne and Knut, who together sound really good, clear and strong with great dynamics and crafting an expansive sound. The song returns to the earlier melody and it is rather stately in places, this track really impresses greatly. Behave begins with an upfront bass line and a sultry vocal from Knut, along with a bit of whistling and some viola backing. There’s a very strong chorus to this track and great backing vocals from Johanne and this allows Knut free reign for his expressive vocal. The strings really play their part gracefully on this track, the song is excellent and very strong. Take Me To The River is equally as impressive with some more great bass work underpinning the joint vocals of Knut and Johanne. Again, sensitive and delicate support from the other musicians definitely help with this excellent track. A dazzling guitar flourish from Eivind Strømstad helps the track gather momentum as it hurtles towards its conclusion. It is very impressive stuff all told. You know I said I wasn’t converted to their cause? Well I think that I may just be by this opening salvo of these first three tracks, which have shown me afresh what all the fuss is about.
Come To Lightopens seductively with another shifting bass line, delicate piano and a very seductive vocal from Joanne. Once again this music is spellbinding and it creeps up and overwhelms you with its brilliance and understatement. This is where Meer score large, with great arrangements that grab your attention with their sheer musicality. It is simply gorgeous stuff that is excellent and most satisfying to experience. Golden Circle follows with some further great guitar work from Eivind, whose chord play makes for a wonderful cauldron of sounds that set the stage for the vocals of Knut and Johanne who sing together so wonderfully. The groove returns to that opening section and, as the song moves into the chorus once again, you are caught up and swept away by the emotion of it all, simply an incredible track. I am getting deeply impressed with this album.To What Endopens with more syncopated guitar fills, all set against Joanne’s earnest vocal and, when Knut joins in, the song gathers in its intensity. This track has a harder edge at certain points and has great dynamics to it. Today Tonight Tomorrow features a mostly Knut vocal. This is a slow burner of a song, I like the build of the track, how it has peaks and valleys in the same song, another highly impressive track with an excellent vocal.
World Of Wonder is a very brief track that acts as a bridge to Mother, this has an orchestral motif to open with and the lyrics are a little darker in tone. The song suggests a loss of innocence and the desire for connection and inclusion. This is Meer at their most vulnerable, there is both beauty and depth to this track and it is quite mesmerising really. The penultimate song is Something In The Water, which begins with some heavy guitar alongside an almost ethereal vocal from Johanne, with assistance from Knut at key points. The subject appears to allude to hidden things being brought to the light, although I could be very wrong of course. What I do know is that it is another fine track which leads to the album’s last and longest track, This Is The End. This song adapts a harder tone, almost Porcupine Tree-like at times. The dynamics on this track are most enticing and agreeable and I like how it plays out its mixture of soft and brutal within the same track, it works really well.
I have to say that repeated listens to this album have allowed me to appreciate it more fully and I can certainly appreciate the crafting that has gone into making the album sound as good as it does here. ‘Wheels Within Wheels’ is a most worthy album and one that will hopefully win Meer many new fans.
Man on the Shore is a wonderfully intriguing, eclectic and emotionally vibrant album from Ozul – the solo prog-driven project of the Norwegian/Costa Rican documentary filmmaker, Paulo Chavarria. He provides the vocals and plays all the musical instruments – creating a real smorgasbord of progressive rock, electronic-led soundscapes, psychedelic rock, post rock and metal – with a cinematic and ethereal sweep. The music can switch between yearning delicacy to dynamic power, with Paulo’s accented vocal style creating a vulnerability and deeply personal aspect to the narrative of the album.
The first Ozul album, 2023’s Provenance, was an excellent and well-received album which highlighted Paulo’s musical talents and compositional skills, as well as his ability to switch from heavy, driving riff-laden power to atmospheric, introspective fragility, often within a single song. Man on the Shore is cut from the musical cloth, but is a concept album with a unifying theme, concerning a real-life news story of the body of an unknown man, found dead, lying on a fjord. Nobody knew who he was, and no one had reported him missing.
Paulo decided to write a fictional story of what might have happened to him – drawing upon the documentary be directed in 2022 called ‘The Bothersome Father.’ It dealt with the subject of child/parent separation and the complicated political, judicial and emotional issues raised. It related to his own father’s experiences with the breakdown of his first marriage, and how it affected Paulo as a child – so this is certainly has a deeply personal dimension for him.
The story revolves around a man having to fight to keep contact with his child after a divorce, and his efforts, challenges, and tribulations through the process, and ultimately the desperation that leads him to take his own life. The lyrics, not surprisingly. have a powerful, dark intensity to them, but it is the way that the music ebbs and flows to accompany the story that makes the album a compelling listen.
Paulo’s musical influences are varied, and they are often displayed on his Ozul albums. This makes it difficult to pigeon-hole the ever-changing style. For me it was the echo of Steven Wilson/Porcupine Tree and The Pineapple Thief that struck me first, but there are heavier elements such as those of Opeth, Katatonia and Devin Townsend, as well as Leprous. However, the classical and cinematic influences sometimes feel like a Hans Zimmer meets Pink Floyd soundscape, as well. Basically, this is an album you need to listen to, in order to formulate your own interpretation, but in my view, it will definitely be worth your while.
The album starts with the dramatic, pulsating drive of Promise, as the man find himself in the midst of a divorce and he looks at his little child and promises to fight to be a father. There are some nice changes in musical tempo, a yearning guitar solo amongst the swirling keyboards and some slight touches of electronica, both musically and vocally. How Could I? sees the man remembering that first encounter with his newborn child, and reflects on how now the mother, and the legal system, asks him to ‘let go’. The track deals with how impossible this task seems to him, and how foolish it is to ask a father for forego his own child. It has a more melancholic, minimalist feel at the start, with resonating piano notes (not unlike the start of Pink Floyd’s ‘High Hopes’), before rhymically building up in intensity. However, a softer guitar-led interlude and some string effects create an unsettling undertow, prior to a bombastic prog metal-edged passage before those opening sad piano notes return.
There is a real sense of yearning frustration with Modus Operandi, as he sees the dishonest machinations of the divorce process trying to separate him from his child – especially those of his wife. The deliberately laborious and plaintive tempo then switches to a more powerful bursts of guitar and retro keyboard chords, swirling chaotically through to the end. In Kafta World, starting with the sound of a phone message, the man now feels on autopilot, trapped in an absurd, repeating circle of endless meetings with the court, counsellors and bureaucrats, with no one seemingly able to help him. There is a dreamy, unreal atmosphere here, lifted by some energetic drum patterns, but the tiredness of the man is still felt within the music.
Pariah Caste does provide a refreshing change in tone at this point. Some serene guitar patterns and chords provides a lighter flow and tone, as the father sings to his little son. Paulo says it is about the father’s worries about what is going to happen to his son as he will become a man, in a world where everything masculine seems to be now negative and denigrated in his view. It is about how hurt this father feels on behalf of his child, having to grow up in such a world. The intimacy and love shown is touching, but with the introduction of spoken words imparting future advice, a darker veil is drawn over the music with some unrelenting prog-metal touches not dissimilar to Dream Theater at the end. If there were signs of hope here, it looks like they are starting to fade.
Venus Will Not is a plea to the mother not to make things worse and let the child to keep his father. But here, Venus is no longer the goddess of peace of classic mythology, but now Venus is the goddess of war. The music is dark and hypnotically sinister, with classical elements enhancing the cinematic soundscape (maybe with a touch of Holst’s ‘The Planets’ in the shadows). Meanwhile Coping Mechanism, deals with the strategies the man tirelessly attempts to implement to keep his sanity. A reflection on how much of himself was annihilated under his last relationship, and the rediscovering of his vitality and sexuality, for a time at least. Paulo uses an electronica-themed, robotic, dance-like beat, suggesting a less human character has taken over our protagonist. A nice change of style with almost a rap-like intensity.
Grievance Entrepreneur is a return to heavier rock style and deep guitar riffs, as the man reflects on the roles of the multitude of experts dealing with his case and living off the grievances and ‘truths’ being revealed, and in his mind, siding with the woman against the man (so often seen as the danger). I’m not usually a fan of the metal death growl, but the snippet here expresses the man’s internal state of mind well – prior to the impersonal spoken word passage in court trotted out to justify these ‘experts’ and the course that the divorce settlement takes. Lost, as the title of the song suggests, just shows how damaged and isolated the man has become. The guitar-led music sways, with acoustic guitar and snatches of lead soloing produce a feeling of melancholic wistfulness. The feeling of helplessness is further highlighted by Admission. Here, it seems his child has become so brainwashed by the process he feels he doesn’t want to meet his father – a blow that seems absolute and final – and the man recognises that the battle is now lost. Lyrically it is a heartbreaking moment, and the rich musical template complements the vocals well. A touch of Rush-like guitar earlier on, but I’m struck by the nods to the likes of his fellow Norwegian compatriots Airbag and Gazpacho here, and throughout much of the album.
After the desolation at the end of the last song, Man On The Shore (Nomen Nescio) has a more up-tempo electronic feel, but the vocals betray what is to come. The man approaches the cliff and reflects on what has happened and the promise he made at the beginning of the story. A promise that he tried to keep, but in the end, failed. He never able to let go of his child inside of him, but he has gone. So the only thing left to let go of now, is himself, as he plunges towards the waves. Some dramatic guitar soloing and sweeping synthesised strings provide a mournful grandeur, but there is a poignancy within this song, and the album as a whole – which ends with a spoken section of news item – reporting the discovery of the body, and also, like many in the past, the unknown deceased would be buried with the Latin phrase ‘Nomen Nescio’ (N.N.) or ‘I do not know the name’ at the funeral.
Paulo, under the project name, Ozul, has produced a dark, moving and narrative for our times. Whatever, the real reasons why this man fell to his death, the story is a powerful one – with a deep, resonant and cathartic musical soundscape. The instrumental playing is of the highest order and the vocals are suitably haunting and integrated. It’s certainly not an easy listen from an emotional viewpoint, with little ray of light coming through any gaps in the dark veil, but it is certainly a rewarding one. I am certainly hoping the promise shown already by the albums Provenance and Man On the Shore is continued in the years to come. Yet again it shows the musical talent and quality, modern progressive rock emanating from Norway in the last decade or so. Check Ozul out on Bandcamp, if you are intrigued by this review.
Released June 21st, 2024 (Digital)
Paulo Chavarria: All instruments, vocals, mix and master
September sees the release of ‘A Strange Inheritance’, Nick Magnus’ highly unusual, nautically themed, concept album, concerning itself with the tale behind an unusual inheritance. This being a chest full of artefacts received anonymously from an unknown relative, the artefacts taken together telling a story of bureaucratic incompetence, harsh decisions taken without much, if any, compassion or sense of fairness and certainly not in the best interests of the victims.
The opening track, An Almost Silent Witness, sets the scene for what follows and is enlivened by the fine harmonica playing of one Steve Hackett, who began his musical life voyage playing this very instrument having been greatly impressed and inspired by the playing of Lou Adler and Paul Butterfield, along with Britain’s very own John Mayall, all players who brought the humble mouth organ to a whole new slew of musicians on their early recordings. This opening track has a lot of interesting things going on during its ten plus minute running time. What makes it unusual is that the teller of the story appears to be the brightly coloured bird who appears to have seen the entire story as it unfolded. He is a most reliable narrator as he tells his sad tale. The great orchestrations and the splendid harmonica solo adding to this nautically themed song admirably and with a certain panache. It really does an excellent job of scene setting as the tale unfolds with observations on the nature of man and his insatiable greed.
Blood Money features the wonderful vocal skills of Tony Patterson of Re-Genesis. It is a tale of greed and how the local people in the Caribbean are ripped off by the marauding interlopers, who take their silver and gold and leave them wooden crosses, not a very fair exchange at all! The song is greatly enlivened by the dextrous acoustic guitar of the talented John Greenwood of Unitopia. In Philadelphia we learn of how young couples are forcibly torn apart and ostracised with devastating consequences. It’s a very moving song with excellent orchestrations and sounds that convey the deep sadness contained in the lyrics.
This album is one that will touch your heart and cause you to wonder and rail against the injustice of our world and how our history is littered with tales of man’s inhumanity to his fellow man, something that lies adjacent to greed and the lust for gold. The next track, At Sea At Night, concerns itself with our heroine’s travels to the colonies and how she feels lost lonely and adrift. It’s a rather mournful track with suitably downbeat music and performances but still manages to convey its emotions exceedingly well. Four Winds is a lengthy instrumental that portrays the four winds and their character and how they interact with the world today. It is in four parts each signifying a wind and its behaviour. This superb track is heavily orchestral in tone with massed choirs and orchestrations featured heavily. It is an excellent listen as you can sense the malevolence that is characterised in the various winds and it also acts as a good break before we take our tale further into cannibalism and piracy before we reach a kind of conclusion.
Welcome To The Island introduces us to the very different way of life the island offers, not all of which is healthy or even sane! Black And Scarlet concerns itself with piracy and how our two heroes find themselves on the wrong side of the law, becoming pirates and outcasts as a result. To Whom It May Concern brings this brilliantly involving tale to its conclusion, drawing together the disparate threads of our story. We see our heroine reveals that the life she has lived has not bought happiness but rather has caused hurt and pain for those around her and she ends it with a plea that we live by reason and not by fear. A cautionary tale if ever there was one!
‘A Strange Inheritance’ is a highly enjoyable and compelling album from Nick Magnus and one that is a bit different from the norm. Like a lot of the best albums, it repays repeated listens as herein lies a real treasure trove of delights for the brave hearted to discover as they take a journey through uncharted waters. I highly recommended it and thoroughly enjoyed it, the artwork is also really strong and the production is clear and well defined.
“Music is an outburst of the soul…” – Frederick Delius
So much truth in such a simple statement; whether sad or joyous, music comes from within the soul of its composer. It can be a long and laboured task that is ultimately triumphal and that is the case with ‘The Lightbringers’, the second full album from Orion, the musical project of the prodigiously talented Ben Jones.
In the album liner notes Ben states that this was an album he fully expected not to make, he goes on to say, “My first album, ‘The End of Suffering’, was intended to be the realisation of an ambition that was born over 20 years ago. The hope was that it would put such notions to bed, once and for all! Within a few months of releasing that first album, it had sold all around Europe, as well as going as far as Japan, North America, and even New Zealand. Needless to say, this unexpected success sparked a few ideas…”
Ben had barely played a note in the 5-6 years leading up to that first album and had largely stopped listening to anything other than background noice, he knew he could do better, meaning that he knew he should do better. He wrote the first three tracks that appeared as the ‘Passing Through’ EP in December of last year and that ultimately became the genesis for this new, full-length release.
“So who/what are The Lightbringers? The basic idea is that maybe they’re a force that’s bringing everything to the ultimate good. Whatever horrors we might be experiencing in life, perhaps they serve the purpose of this ultimate good. Maybe The Lightbringers have no concept of bad, because everything they do is in the name of the best there can ultimately be. Is all of this unlikely? Probably, but you’ve got to have something to hold on to.“
I’m just looking for the light,a beacon on the shore.
A resting place to find what’s right,and a home forever more.
The opening track The Tumult of My Heart was inspired by a book of the same name by Jason Spencer from The Prog Mind. The book is about trying to deal with religious trauma from the author’s past. An imposing wall of sound is created by the layered widescreen guitar sound and the powerful rhythm section but the vocals add some real heart and soul so it’s not just a metal track. There’s a searching passion and questioning mind at the heart of this powerfully emotive piece of music and a feeling of fragility and a soul laid bare. It’s very compelling and influential and a great start to the album. The Ghosts Among Us is a profound piece of music written about the gut wrenching experience of caring for someone with a profound disability. Whilst it’s not something Ben has had to do, it is something he’s witnessed first hand. And I myself have a real affinity with this track as I have some experience of this myself and which came all flooding back as I listened to this brilliantly written song.
This Sickness is a diatribe about the negativity of social media and, man, is this track angry! Crunching guitars in the style of ‘Train Of Thought’ era Dream Theater and drums that are hewn out of granite open this thunderously compelling track. The vocals are distinct and authoritarian and the whole song just bleeds a potent intent. This is ‘proper’ prog-metal that puts a smile on my face, and not just because of the subject matter. The musicianship is sublime and Ben just seems to be having a whale of a time, venting his frustration in the best way he knows how. It’s a riot from beginning to end and I seriously enjoyed it. As Best We Can was intended to be a stripped back acoustic track that tackles the sadness of a failed relationship. Just to be clear, this is a failed relationship, not a concluded relationship. The people in this relationship have drifted apart, but they’re still together. The song opens with a gorgeous acoustic guitar and sweeping string-like synths before Ben’s hushed vocal creates a haunting atmosphere over and above the music. This elegant musical tapestry continues, imbuing the listener with a wonderful feeling of tranquility. This is the calm before the musical storm of the powerful ending to the track where everything begins to build up to a quite inspirational conclusion.
To everything, there’s a season.
A time, and a place, and a race, under the stars.
Spark opens The Cycle of Light suite, the epic that concludes the album, Ben had hoped to write an album that was in the 45-minute region as he believes that albums today are just too damned long was already around the 25-minute mark, so an epic seemed like the perfect fit! This track is a very impressive instrumental that takes you on a quite marvellous symphonic journey through the world of The Lightbringers and one where Ben really started getting into his orchestral sample libraries, hence the ramped up presence of strings, French horns, trumpets, and god knows what else during the second half of the album. Crunching guitars, thunderous, primeval drums, sweeping strings and a serious amount of grandeur add up to a truly wondrous way to begin an epic. As previously stated, The Lightbringers was a force, or a collection of entities, that have no concept of bad. They just do what they do to bring about a final state of good. The idea of The Scattering Stars is that these forces are seemingly chaotically moving. In reality, they’re just getting into position so they might exert their influence. I love this piece of music, it opens so peacefully with a delicate piano motif and the hushed vocals along with the heavenly horns and wistful strings before breaking out into an uplifting crescendo of symphonic prog metal with as much dynamism and drama as you can handle and the repeated lyric of, “They just bring gravity…” and that’s what this song fundamentally does, it pulls you into its willing embrace. We’ve all heard of people talking about the sky falling down around them. It’s catastrophic, it’s apocalyptic…. But maybe it’s necessary. Maybe these things are here to burn down our temples so that we might build better ones. The Falling Heavens is prog metal done just right, a truly incendiary cacophony of sound where every note, every drum beat and every word has a precise edge and dynamism. It’s primeval in feel and delivery, music that is hewn out of granite with djent style guitars and a passionate vocal. It all makes for a track that you aren’t going to forget in a hurry!
But is fate what they break,for those that survive the fall?
Left to rebuild the world,in the image of us all.
Although it’s tragic, maybe a person will pass away before they get to even see what light they brought to the world. I can’t imagine that in Anne Frank’s final moments, she had any concept of what her diary would bring to the world. Perhaps The Lightbringers had bigger plans.
And so we come to the conclusion of this epic album with the final track and the final part of The Cycle of Life. The Lightbringers is the best track that Ben has ever written, ten minutes of pure majesty and theatre laid out before you and what this sublime album has all been leading up to. Partly written from the perspective of the enigmatic Lightbringers, it is an utterly immersive and involving piece of music with so many brilliant hooks, riffs and motifs to keep you happy for a lifetime. The catchy chorus and addictive music are on another planet and I find myself singing the classic lines, “Let The Lightbringers burn us alive, let The Lightbringers bring us to life.” in all sorts of odd places but it has just stuck with me and isn’t that the sign of excellent music and songwriting? Just go with the flow and let the music take you along on this fantastical musical journey that is ultimately uplifting and life affirming.
The best music can take you on a wondrous, fantastical journey where, for a short while, you can forget about the trials and tribulations of this planet that we inhabit and with his latest superb Orion album, ‘The Lightbringers’, Ben Jones does just that. It is a highlight of another fantastic musical year and one that I feel will be on many people’s end of year lists and it deserves to be.
I am definitely of an age where technology is not especially my friend. I recently bought a new phone that, a month on, I am still barely scratching surface of what it can do and with music, whilst I appreciate the ease and speed of downloading, I can’t help but miss actually getting a physical copy of the music on CD and reading the credits, booklet lyrics et al. For me, at least, the CD is definitely still very much alive.
Which brings me to this set of the early EMI recordings by Scottish proggers Pallas who, at one stage, held the prog flame alive, along with Marillion, Twelfth Night, IQ and Pendgragon, all of whom initially had major label input and support. Pallas were probably the unluckiest of the bunch though as they underwent major changes and trauma’s during their tenure with EMI.
Their journey starts in this collection with ‘Arrive Alive’, a recording that was originally released independently on cassette and which, for a low key cassette release, was actually very good. It did later get a vinyl release but here it gets both an updated sound and is also accompanied with the original 7 inch single version of Arrive Alive and it’s B-side Stranger on the Edge of Time. This is vintage Pallas where you can hear their intent and their promise. Stage favourites like Arrive Alive, Heart Attack and Crown Of Thorns (my favourite Pallas track) are all here in good solid live versions and, as an opening disc, this is very strong and satisfying indeed, neo-prog seldom sounding so good. Disc 2 is a collection of tracks recorded at various BBC shows, including the Friday Rock Show recordings, it also includes Paris Is Burning and the infamous The Hammer Falls. Make you own mind up about this track but my verdict is underwhelming at best, good live tracks from the Reading Festival and the live BBC session do both impress though.
Disc 3 is their EMI debut ‘The Sentinel’, which was issued in 1984 and contained merely six tracks, bolstered here by both Eyes In The Night and Shock Treatment and other tracks which make up the bulk of the later issued InsideOut version of the album, which has all ten tracks as we get here. The album was decidedly different from what was originally envisaged which was a suite about Atlantis. The final album only had a few of those intended tracks on it, the others were lost as a result of EMI’s reluctance to issue a whole Atlantis concept piece, although segments have appeared on various other releases. Disc 4 gives us the US remix version of the original album. Again, you can make your own mind up about this, personally I think it’s okay but adds very little to what we already know.
Disc 5 gives up ‘The Wedge’ and ‘The Knightmoves’ EP, from 1986 and 1985 respectively, both of which are very good and, even though Pallas were trying for a new more commercial sound, the material is still very progressive and strong. These recordings featured their new vocalist Alan Reed who replaced Euon Lawson after the disappointing experience of ‘The Sentinel’ album and all the issues the band faced as a result. The quality of their material is seldom in question here nor are the performances. What we have with Pallas is another case of record company interference and misunderstanding of exactly what they have signed to their label. It’s happened many times over the years along with the hit single dilemma that has faced many bands over the years, with Pallas being no exception. What was worse for the band though was that EMI pulled tour support midway through ‘The Wedge’ tour, leaving the band stranded and on the verge of imploding. The fact that they survived the ordeal and decided to walk away from a major label in order to embrace being independence once more again is testament to their spirit and integrity and these valuable recordings offer ample proof of that.
Whilst this set is not cheap, it does offers a fair package to all listeners along with a Blu-Ray of a London show from ‘The Wedge’ tour, there is also a live show from Aberdeen in October 1985. In all, it’s a big yes from me and a very interesting and informative booklet completes this set to the usual Esoteric high standards.
Progressive rock is all about progress, right? To a certain extent that is correct but not when we have progress for the sake of it and some times small changes and progressions make more of a difference than huge ones.
With their third album, ‘An Ordinary Life’, Long Earth have moved the game on from their sophomore effort ‘Once Around The Sun’, an album I greatly enjoyed, not in a big way but subtlety and this has produced a beautiful, heartwarming collection of songs that add up to one of the brightest releases of 2024 so far.
Before we delver further into the record, let’s have a bit of history;
Long Earth is a prog rock band from Scotland, four decades in the making. All seasoned campaigners of the Scottish music scene, they came together through a shared love of progressive music.
In 2017 Long Earth released their debut album ‘The Source’, popular with prog fans, DJs and rock writers alike, and began building a local audience at their gigs around Glasgow. ‘The Source’ was a serious statement of intent, showcasing the instrumental and songwriting prowess of the band. However, their identity was not fully formed until the arrival of Martin as the band’s new vocalist in 2018 during the writing sessions for the second album, the album that was to become the critically acclaimed ‘Once Around The Sun’.
In March 2020, Once Around the Sun was released on CD and download to critical acclaim. Widely regarded as a significant step up from its predecessor, it has received regular worldwide airplay throughout the year, and features heavily in many DJs and listeners’ “album of the year” lists.
The band line up is:
Mike Baxter – Keyboards, Martin Haggarty – Vocals, Renaldo McKim – Guitar, David McLachlan – Bass and Alex Smith – Drums.
The album opens with Fight The Hand That Bleeds You and a keyboard refrain that could be from a 1980’s Neo-Prog album, a feeling enhanced by the energetic rhythm section, Renaldo McKim’s stylish guitar playing (check out the fiery solo) and Martin Haggerty’s direct vocal delivery. It’s done with aplomb and class and has an up to date, polished edge. A high energy start to the album that makes you take notice, especially the catchy chorus. I have to be honest, while I’m as big a fan of excellent Neo-Prog done well as the next man, I was hoping for a bit more from these talented Scots (although the wonderfully nostalgic sounds from the keys of Mike Baxter are a revelation to hear). I needn’t have worried as the rest of the album is wonderfully crafted and really doesn’t sit in any one genre, although, if I had to pick one, it is definitely progressive rock oriented in flavour. The next two tracks, Morpheus and Life show us that Long Earth have not stood still since releasing ‘Once Around The Sun’. They are both deep and meaningful with gorgeously wistful vocals from Martin and a nostalgic sound that reminds me of the great songs that have graced the charts for years. Renaldo’s guitar on Morpheus just echoes in the background gracefully and the drums from Alex Smith and David McLachlan’s bass both have a cultured, jazzy feel to them. It is music for the mind and soul and, for me, that is some of the best music you can get. Thoughtful, contemplative and with a wishful yearning, Life just bleeds emotion from it’s elegant, piano led, introduction and the melancholy vocal, Martin is seriously on top form on this bewitching piece of music. An elegant musical journey that takes you through the full gamut of emotions and delivered by a group of musicians working at the height of their powers. Sand delivers a much harder, defining edge to the band’s sound with a crunching guitar intro and more forthright vocal delivery. It’s a fluid, punchy track more focused on hard rock but still with the polished feel you’d expect from Long Earth. Renaldo gets to do his best guitar hero impression with some fine riffing and a rather tasty solo and the bass and drums feel hewn from pure granite. It’s a focused and direct song that really leaves its mark and one I really enjoyed.
The longest song on the album, Shadows sees the band in storytelling mode in the best progressive fashion. There’s elements of folk rock at play here, Renaldo’s delicate guitar playing and Mike’s vocal, almost balladeering in style, give a touch of medieval to the sound. This refined piece of music draws you into its embrace with its introspective feel and, at times, pensive and sombre tone. I can believe that this track could become a staple of the band’s live set, it has that involving atmosphere that the audience could feel enveloped and included in. One of my favourites on an album full of superb tracks, The Arc sees Long Earth on their progressive, reflective path and has a feel of Talk Talk to my ears, the deliberation that goes into every word and note and Martin’s vocal has big similarities to Mark Hollis. A big claim I know but one I feel is justified on this fantastic five minutes of music and one of the best songs I’ve heard this year. Moscow is big in sound and in scope, creating a widescreen, dramatic musical experience that touches on the band’s progressive roots. Another immersive musical journey that you gladly participate in, swathes of elegant keyboards and the dynamic rhythm section lay the foundations for Martin and Renaldo to lay out the story in fine style. Symphonic prog maybe but it is just great music delivered by an exceptional band. The album closes with Empty Shore, Renaldo’s echoing guitar and Mike’s subdued keys followed by the soulful vocal of Martin Haggerty on this charismatic and impassioned track. A real slow burner of a song with a pent up, brooding tension that feels ready to erupt at any moment and one that brings proceedings to a close in a very satisfying fashion.
All great albums are the product of an intensive creative process and, in ‘AnOrdinary Life’, Long Earth have given us the highly impressive fruits of their artistic labours. A wonderfully immersive musical journey that will have you coming back for more, it is a highlight of what is becoming an extraordinarily outstanding year for new music.
“The Geof Whitely Project was formed in 2011, it consists of Geof Whitely and special guest Musicians, the aim of the project is to put out original material in all types of musical formats from Prog Rock-Rock-Pop-Electronic-Instrumental. All albums will contain a mix of such musical songs, theres surely one that will appeal to everyone.”
I seem to be trotting out this introduction to Arny Wheatley’s musical project quite often at the moment as he is on another productive roll, this new album ‘Hard Words Break No Bones’ coming hard on the heels of January’s release of ‘The Reckoning’ and soon to be followed by ‘Paper Tiger’. For some musicians releasing albums this close together would dilute their output and content but, for some reason, it doesn’t seem to happen with Arny and the Geof Whitely Project. Each album is consistently of good quality with great songs and musicianship.
What we have got on this and the previous release is more of a darker, harder and edgier sound that is reflected in Arny’s increased reliance on a stand out guitar sound. It started on ‘The Reckoning’ and has become even more of an influence on this impressive new release. Flowing synthesisers and an elegant rhythm section are the foundations and key to what we expect from the Geof WhitelyProject but the darkly delicious and sometimes ominous guitar now adds another layer of refinement and sophistication. Arny’s instantly recognisable vocal gives a feel almost of a narrator on each of the nine precisely nuanced tracks and the album flows superbly from beginning to end. That’s the other thing with a GWP album, it’s not one where you pick tracks for a play list, every release works best when you listen to it in order and from the start to the finish.
There are many highlights throughout but the ones that really stand out for me are the demonstratively dynamic opener Corridors of Power with its catchy vocals, rumbling synth and brooding guitar, the polished and vibrant Creatures of the Night with its charismatic synth lines and superb guitar solo, the fiery Forbidden Fruit with its resonating riff, funky rhythm section and fine vocal performance from Arny and my personal favourite, Uncertainty Rules, which opens with portentous keys and a pensive, intense guitar before expanding with a super stylish keyboard and drumbeat. To my ears it’s one of the best tracks GWP have ever done and continues to impress with it’s sombre tone and Arny’s solemn vocals, add in the brilliant guitar that closes out the track and, trust me, you are not left wanting. Pirates of the Third Reich is an utterly absorbing listen but there’s no filler on this album.
‘Hard Words Break No Bones’ is yet another winner from the Geof Whitely Project, incisive songwriting and a powerful, widescreen sound combining to deliver a rather impressive listening experience. Bring on the next chapter Arny!
Released 20th July, 2024.
The album will be available to buy on bandcamp soon:
