Category: Album Reviews

Review – IQ – Resistance – By Leo Trimming

We live in contentious and dark times so maybe it’s not surprising that IQ’s latest album ‘Resistance’ has a real sense of titanic struggles, whether they are internal conflicts or global issues, as the band create a tidal wave of dense and dramatic music. If you thought 2014’s brilliant ‘The Road of Bones’ was dark then prepare yourself for the stygian shades that colour this epic double album. IQ have not held back in this release immersing themselves deeply in to gothic depths with intense and yet captivating music.

‘A Missile’ plunges us almost literally right in to the album as a descending drone and falling electronic pulse thrusts us in to a thunderous maelstrom of drums, bass and keyboards – it just sounds absolutely MASSIVE! Pete Nicholls sings powerfully, riding this ballistic Missile of a song with great skill and feeling – this feels like someone expelling their soul in to the void:

‘What I thought could save me was artificial, Raking across my nerves and taking possession…

…There is no Faith can be sustained,

No Original Sin to blame, Now I know…’

Neil Durant spices up the keyboards with weird, distorted synths. Paul Cook is simply outstanding on drums as he drives this absolute panzer of a song onwards.

What Peter Nicholls sings about exactly is always open to interpretation, but he has a tremendous ability to evoke images and feelings through poetic words and obscure phrases – you don’t know exactly but you can certainly draw a sense of the emotions that inspired his lyrics. When you listen to IQ each time a whole new line or phrase can just jump out and hit a nerve in ways you had not noticed the last time you listened. Such a thought also brings me to a conclusion I have drawn about IQ albums.

For this review I had to put up some ‘Resistance’ (yeah, I know, corny) to the Progradar editor who was gently suggesting I should try to complete the review in a few days prior to the album launch gig on September 7th. A listener needs to ‘live’ with an IQ album for a little while, and then they usually reveal their hidden gems. Some of my most favourite IQ songs and albums have not always ‘clicked’ with me initially, but with a little time I ‘get’ it and I appreciate the quality and depth of the material.

That has been the case with ‘Resistance’ for me, and it was well worth immersing myself in the album. The interlinked songs ‘Rise’ and ‘Stay Down’ did not hit me immediately but now I feel awed by their skilful blending of light and dark, Rise commencing with loud foreboding chords like some sort of epic sci-fi landscape, as depicted on the striking and rather beautiful cover by Tony Lythgoe. ‘Rise’ segues in to ‘Stay Down’ which echoes the previous throbbing chords and melody of ‘Rise’ with a simple piano line under Nicholls’ sorrowful voice.  Pizzicato keyboard notes and cello sounds carry the song on gently but the tension rises with guitar and the sound of ticking clocks. This remarkable song then almost literally falls off a cliff with a massive landslide of keyboards, bass, drums and guitars as Nicholls appears to rail against a breakdown:

If I don’t make success out of real life,  Nothing doing

Fall Back, break out, inside, can’t see, can drown

Shut up while I stay down, The less I can handle

The more I can blame on my breakdown

This is dark and very powerful stuff both musically and lyrically, and one has to wonder what Pete Nicholls and Mike Holmes were feeling when they wrote this album. It feels like this release may have been a cathartic expulsion of emotions.

‘Shallow Bay’ is a more straightforward rock piece with an elegiac feel and gives Michael Holmes a perfect showcase for a fluid, emotive guitar solo over a titanic organ for the conclusion. The intensity decreases significantly for the beautiful ‘If Anything’, demonstrating that IQ know that darkness needs to be contrasted with light and hope. With an opening slightly reminiscent of a song by The Cars, Nicholls’ warm vocals lays out lovely images over delicately picked Spanish guitar:

‘Not anyone could take my Heart, And send it soaring so high,

Far above the setting Sun we’d fly’

Tim Esau’s deftly played gentle bass and Paul Cook’s subtle drums and percussion perfectly underpin this gentle piece, demonstrating that it’s not all about power. However, just when we’re settling down in to a soft blanket of a song an ominous drone echoing The Beatles ‘A Day in the Life’ presages the clanging chords heard previously in ‘Rise’ and a Hammer Horror like organ from Neil Durant segues us in to the weird carnival sounds of the  outstanding epic ‘For Another Lifetime’. This peculiar opening evokes the feel of a Ghost Story, especially as the opening sequence eerily slows down and the vocals become distorted and then a classic IQ passage of guitars, drums, bass and keyboards, reminiscent of ‘Sacred Song’ from 2004’s ‘Dark Matter’, builds the tension ominously. This tension breaks with the sound of thunder and a wave of sound breaks over us like a storm breaking – it’s just bloody exciting and stirring stuff! I love IQ moments like this when they really let loose with keyboards and guitars intertwining perfectly whilst ‘Cookie’ and Tim Esau drive the Leviathan on powerfully. Nicholls seems to be screaming in to a Hurricane;

‘And if there’s no Resistance, What am I Fighting For?

An unsung renegade evading radar, And if there’s no existence to worship and adore

A lethal chemistry invades, as dark as war’

The darkness seems to recede as Durant’s piano breaks through the clouds like sunshine, introducing a more optimistic sounding guitar line from Holmes, which soars upwards and Nicholls sings emotionally ‘And this is where I will stay, Holding on, Holding on, Holding on…’

For Another Lifetime is destined to become another much loved IQ classic epic song. No other band does it quite like them. Indeed, this album is unmistakably ‘IQ’ – they have a successful formula and they use it with great skill on this album. Sure they turn up the ‘Darkness’ button way up (and the ‘Mellotron’ effect… possibly a little too much at times?)… but the fundamental sound and feel is IQ all the way. They really do not need to experiment when they sound this good.

The second part of this double album is populated with two epic pieces, ‘The Great Spirit Way’ and ‘Fallout’.  This review will not go into great detail about these pieces – some things the listener needs to explore with a largely blank page. The Great Spirit Way is an intense piece which hardly lets up for it’s whole 20 minute plus duration, and features Neil Durant’s enormous organ sounds in abundance. Michael Holmes has shared that what was largely inspiring his music writing for this album was his feelings about the climate emergency, and the complacency towards this global threat. He suggested that groups like ‘Extinction Rebellion’ were the ‘Resistance’ against this issue, and perhaps Nicholls’ lyrics in this piece echo those concerns (but who knows when it comes to Peter’s words?!):

‘All the misfits in the world sure to change it

Though they’ve tried rearranging, Good for Bad,

Still the Mad King Reigns’

Fire and Security is a track that follows the familiar IQ template. It’s fine but not outstanding on the album… it’s difficult to stand out on a disc with two 20 minute epics! However, the other shorter song on disc 2 Perfect Space does succeed in making it’s mark. It is interesting to note in the credits that this is the one song on which it appears Neil Durant took the lead role in writing the music. His keyboard sounds are remarkable on this piece, ranging from a gentle ambient opening to an almost dirty sounding organ which bubbles and spits like lava in an incendiary guitar / organ duel in the middle which returns in the dramatic closing sequence.

The epic Fallout draws this saga to an end… it’s full of light and shade, soft and loud, drama and emotion – it’s a classic piece of IQ imagining, almost impossible to convey in words. The piano does make a welcome longer appearance in this piece – it does feel a little bit like powerful organs and keyboards somewhat dominate at times in this album so a gentle piano is a welcome lightening of mood. But that’s the point – IQ wanted to conjure up atmospheres imbued with gothic darkness with dense soundscapes so they chose instruments more suited to that feel.

1993… 1997… 2000… 2004… 2009… 2014… and now 2019. IQ albums since the 1990’s only appear about every 4 to 5 years. In the world of Progressive Rock music they are truly special events as this is one of the truly great bands of the last 35+ years… does this one match up to that fine heritage? Having ‘lived’ with it a little while I feel that it can honourably take it’s place in their fine canon of music. It’s not perfect – it’s difficult fully sustaining a double album (and perhaps the organ / mellotron sounds can be a little dominant?) , but there’s no weak tracks… and let’s face it even a weak IQ track is better than many band’s best tracks – this is IQ after all – the Crème de la Crème of modern progressive rock.

IQ have produced another fine album of imaginative progressive rock with exemplary musicianship and poetic lyricism – it’s just what they do, and they do it so well. It could be another 4 or 5 years until the next one so immerse yourself in this dense, dark epic world and join the Resistance!

Tracklist:

CD 1:

  1. A Missile
  2. Rise
  3. Stay Down
  4. Alampandria
  5. Shallow Bay
  6. If Anything
  7. For Another Lifetime

CD 2:

  1. The Great Spirit Way
  2. Fire and Security
  3. Perfect Space
  4. Fallout

MUSICIANS

Paul Cook  –  Drums & Percussion

Michael Holmes  –  Electric & Acoustic Guitars

Tim Esau – Bass & Bass Pedals

Peter Nicholls  –  Vocals & Backing Vocals

Neil Durrant  –  Keyboards

Released 27th September 2019

Order direct from the IQ online store:

https://www.iq-hq.co.uk/shop/

Review – Richard Henshall – The Cocoon

“Acclaimed for his work as a founding member of prog metal standouts Haken, as well as Nova Collective, Mike Portnoy’s Shattered Fortress, and as a Strandberg Guitars associate artist, Richard Henshall is now prepared to release his debut solo album, ‘The Cocoon’.  Consisting of eight tracks that range from dense polyrhythmic passages to delicate minimalistic interludes and everything in between, ‘The Cocoon’ features Henshall’s trademark guitar and keyboard playing throughout, and marks his debut performance as a lead vocalist.”

I was intrigued when I heard that Richard Henshall was releasing a solo album, I’m a big fan of Prog-metal behemoths Haken and a major factor behind their success and sound is this talented musician.

There’s no getting away from the fact that this does sound, in parts, like a Haken release but that’s not a criticism, the song composition and musical variety on show will not only appeal to fans of the band but also bring in a wider audience. The rhythm section is composed of Conner Green (Haken) on bass and Matt Lynch (Cynic and Nova Collective) on drums who bring a unique, energising approach to the record.

Richard calls on a plethora of musical guests who add their own individuality including Jordan Rudess, Marco Sfogli and Haken vocalist Ross Jennings and this gives a very different feel to that of the last Haken offering.

The album opens with the introductory instrumental “Pupa” which transforms from calm and collected to frenetic and energetic before seamlessly integrating with “Cocoon”, a ten minute musical foray into dense polyrhythmic passages and short, frantic staccato bursts that throws the listener right out of kilter, the King Crimsonesque saxophone from jazz aficionado Adam Carillo is suitably mind bending and brilliant.

“Silken Chains” provides a calming influence and really showcases Henshall’s impressive vocal skills. Following the low key intro, an upbeat, almost pop infused vibe runs throughout the song with the pared back vocal and edgy rhythm and the guitar solo from guest David Maxim Micic is just a delight to listen to. “Limbo” is a short musical interlude with pared back vocals and hushed tones that gives an almost industrial feel.

To this reviewer “Lunar Room” channels Linkin Park and Eminem with its Nu-Metal/Rap vibe and notable vocals from Ben Levin and Jessica Kion and really gives this album its own sense of identity. The dense musical passages contrast perfectly with the deliberated vocals, it is intelligent and thought provoking and contains yet another impressive guest solo, this time from prog-metal legend Marco Sfogli. It is about this time that I realised how engrossed I had become in Richard’s creation, a testimony to his skill as a songwriter.

Perhaps the most Haken-like track on the album, “Twisted Shadows” sees Richard collaborating with his Haken band mate Ross Jennings who provides a powerful, polarising vocal performance. The song seems to skit through the verse, edgy and restless, Jennings providing just the right amount of unease and Henshall’s guitar a willing collaborator. The dominant chorus seems to erupt almost out of nowhere and Jordan Rudess turning up to add his signature keyboards makes the track a captivating and coruscating musical journey.

My favourite track on the whole album is the wonderful “Afterglow”, I just love the whole feel of this song, like a beacon of light in a world edging every closer to darkness. The humble guitar, uplifting keyboards and Chris Baum’s strings add a soulful tinge before everything breaks out with an outpouring of hope, like the sun rising above the horizon to signal the beginning of a brand new day.

The Cocoon is a truly impressive release and one that shows Richard Henshall at the height of his creative powers. He takes the influences from his time in Haken and Nova Collective and fuses them into something truly individual that can sit astride the progressive and metal genres with equal appeal and that is not an easy thing to do.

Released 26th July 2019

The Cocoon is available from Burning Shed:

https://burningshed.com/store/richardhenshall

Single Review – Rise – Radio Silence – by Progradar

Rise – Radio Silence

Radio Silence, the second single from upcoming album ‘Strangers’ is a bitter/sweet and raw account of being cut out or ghosted and alludes to some gut wrenching references, such as a woman whose parachute is cut by her husband, a biblical scapegoat and the dark fate of the lifeboat keepers of Small’s Lighthouse.

R I S E (aka Jo Beth Young) is an English songwriter whose relentlessly authentic songs and mesmeric voice cut deep into the fabric of human frailty with a visionary sound swaying hypnotically between dream folk and progressive grit; at times dark but always beautiful.

Since the release of her debut album ‘An Abandoned Orchid House’ in 2018 (under the longer moniker of Talitha Rise) she has been gathering international acclaim and support from BBC 6, BBC Introducing Devon, and the legendary ECHOES Radio in the USA who made her the number 1 album of the year 2018.

Establishing her unique sound early on in Ireland cutting her teeth on the folk circuit, she returned to the UK and met her long-term collaborator Martyn Barker (Shriekback, Goldfrapp, Robert Plant) and caught the attention of Chris Difford (Squeeze) who sang on her debut EP Blue.

Rise’s haunting and mesmerising vocal is the mainstay and backbone of this incredibly moving track. The ethereal and waif-like voice has you completely enthralled in this bitter-sweet tale and the raw, pared back music is a perfect accompaniment.

There’s a painfully wistful overtone to the whole song, it’s beauty wrought from a tender agony and one that cuts deep to the bone. As the track comes to a close you are left almost bereft but with an urge to hear more, testimony to the wonderful art of the songwriter.

“Radio Silence
A new kind of violence.
Who took the leaves out of the trees?
A consequence you cannot believe is radio silence.
A special kind of violence.
A consequence you can defend.
Betrayal of your only friend.”

Raw, painful but beautifully mesmerising, Rise once again shows that she is a serious talent and one that the world is waking up to and taking notice of…

Released 22nd August 2019

Pre-order from iTunes here: https://music.apple.com/us/album/radio-silence-single/1474912486

Progradar Recommends

As most of you will know, I’ve taken a back seat for the last six months when it has come to reviewing albums. Now, while I may occasionally step back into the ring and write a full review, going forward I will be recommending a few albums with , hopefully, a few well chosen and pithy words of description.

I am starting with a round dozen of albums new to me over the previous six months or so and I hope you will enjoy them as much as I have…

Avandra – Descender

Released on April 26th, Descender, the sophomore album from Puerto Rican prog-metallers Avandra, is an incredibly mature and complex record full of thunderous riffs, intelligent vocals and catchy hooks. In a genre well known for formality, this act with the most humble of beginnings have unleashed something truly different and special and with an impact similar to prog metal legends Dream Theater’s own career defining second album Images and Words.


Avandra – Even/You
This Winter Machine – A Tower of Clocks

A Tower Of Clocks is the long awaited second album from multi award-winning UK progressive rock band This Winter Machine. Almost 2 years in the making, this new release has the band tackling universal themes such as time, loss and identity within a loose conceptual framework.

With a feel of early Genesis and Fish era Marillion, the band haven’t strayed too far from the accepted progressive rock path but this album has been created flawlessly and with obvious affection and the musicianship on show is second to none. The impressive songwriting weaves captivating tales that draw the listener into the story and keep them there as willing companions on a spectacular musical journey.

I liked it that much that I bought the vinyl…

Released 24th June 2019

This Winter Machine – Justified
Our Destiny – Awakening

Our Destiny is the brainchild of Vikram Shankar (keyboardist of American progressive bands Redemption and Lux Terminus), whose piano playing on Awakening is paired with the angelic vocals of his partner Lauren Nolan. Awakening showcases the duo’s unique synthesis of genres and stylistic approaches, with emotive progressive rock married to pop, singer-songwriter, alternative and electronic flavors.

Vikram is a multi-talented musician of considerable skill and he shows his lighter side on this most graceful of recordings. A collection of ethereal, wistful songs that lend themselves to Lauren’s spectacular vocals perfectly. In a world full of chaos and anger, this wonderful record delivers some calm, elegance and decorum. An injection of peace into your soul, truly breathtaking.

Released 21st June 2019

none other – s/t

None Other is a prog rock power trio from Volos, Greece who have released three albums since 2012. The brainchild of Spyros Charmanis, this eponymous third album is a sometimes brutal voyage that leaves no mountain unmoved and no stone unturned in its compelling forty minute running time.

Thunderous guitar and monstrous bass combine with the mighty drums and authoritarian vocals to deliver an addictive aural assault. Not for the faint of heart but a truly forceful piece of music that is definitely worth your time and attention.

Released 6th May 2019

Neal Morse – Jesus Christ The Exorcist

“Jesus Christ – The Exorcist” is a monumental project in Neal Morse’s already impressive discography. A Progressive Rock Opera 10 years in the making, it was written and produced by Morse and includes performances by Neal and an all-star cast of vocalists and musicians. Featuring about two hours of music that encompass all the spectrums and genres Neal Morse is known for, the album will, of course, tell the Story of Stories. 

Now I know Neal’s religious leanings do put a lot of people off but if you can get past that and just listen to the incredible music then you will be privy to an incredible musical journey full of wonderful pomposity, amazing songs and just incredible musicianship. Whatever you say about the man, he is one incredible musician and storyteller and this Rock Opera is a remarkable and thoroughly enjoyable roller coaster ride.

Released 14th June 2019

Bruce Springsteen – Western Stars

Yes, I know, it’s not exactly progressive rock but then that’s not all I listen to anyway. Western Stars is a wonderful album and one that everyone should have in their collection, it is that good! Forget the fact that it’s a Bruce Springsteen record, that really is irrelevant here, what it is is a truly memorable collection of beautiful songs that show a calm and reflective side to The Boss.

Take the title track, you will not hear a more captivating four and a half minutes of music this year, believe me. Chasing Wild Horses, Moonlight Motel, Stones and more, thirteen tracks of perfect Americana and country music that some are calling Springsteen’s best release in years. Now I can’t comment on that but I can tell you that it is currently my album of the year and it will take something incredible to move it from that spot, a truly special release.

Released 14th June 2019

Magic Pie – Fragments Of The 5th Element

Fragments of the 5th Element is Magic Pie’s long awaited 5th album, made up from 5 tracks  showcasing the band’s very diverse influences. On this record, they have tried to steer clear of the sterile perfection which modern prog bands have a tendency to get caught up in – and have gone for a slightly more unpolished sound, a bit rough in the edges. A little more ‘bite’.

From the incredibly infectious and upbeat opening salvo of The Man Who Had It All to the mighty bombast of the epic twenty three minute album closer The Hedonist Magic Pie have delivered joyous symphonic prog perfection. Epic, energetic melodic and sometimes heavy  prog rock with splendid vocal harmonies and great musicianship, this album has it all!

Released 30th August 2019

Magic Pie – The Man Who Had It All
Norrie Mcculloch – Compass

Norrie McCulloch is a singer-songwriter and award-winning visual artist originally from Ayrshire he currently lives and works out of of Stirling, Scotland. McCulloch’s songs are a tangle up of folk, indie and country influences that manage to stay true to his Scottish roots, equating to a style that offers a welcome touch of originality.

Compass is this talented musician’s fourth full length album and builds on his unique blend of Caledonian Americana with exquisite songwriting, plaintive, heartfelt vocals and pared back instruments to deliver his most fulfilling and accomplished release yet. There’s a simple, stark beauty to these tracks, a feeling of a heart laid bare, a truly emotive collection of tunes that leave you emotionally spent.

Released 31st May 2019

Norrie Mcculloch – Road Sign
Marco Ragni – Oceans Of Thought

“Oceans of Thought” was originally called “The Merchant of Eternal Youth” but during the time of the recordings Marcohad some personal problems and was a little depressed. So the songs, the cover but above all the lyrics, have undergone a change because the music comes from what he has inside his mind and soul. 

“So this album talks about the difficulties that life sometimes brings us, but also talks about how to try to overcome them. It’s a record that I care a lot about because it talks a lot about me.”

I’ve always been a big fan of this outrageously talented musician who delivers some intelligent and thought provoking progressive rock with an undertone of eastern promise. Care is lavished on every aspect of the recording and Marco enlists the help of some highly talented individuals to deliver his most intense and complete album yet, a thoroughly engrossing achievement that rewards your complete attention.

Check out Open My Arms with Norwegian guitar maestro Bjørn Riis, a contender for song of the year.

Released 21st June 2019

Broken Parachute – Living Dangerously

Living Dangerously is the band’s second release, coming six years after the first and is described as a “Sonic cocktail on the rocks blending equal parts classic, progressive jazz and blues and cheekily spiking with whatever they found lurking at the back of the cupboard…”

There’s bits of King Crimson, bits of Van Der Graff Generator and a whole lot of intelligent, sharp-suited songwriting that has gone into this album and its stays just on right side of being too clever for itself. Broken Parachute craft some impressive tunes on this release and its another album that requires a lot of you time and attention to completely reward but, trust me, it is worth the effort. The blues soaked guitar and jazz infused keyboards are utter works of art and are worth the entry prize alone.

Released 31st May 2019

Broken Parachute – Living Dangerously
Gandalf’s Fist – The Clockwork Prologue

How do you follow the monumental three disc wonder that was Gandalf’s Fist’s 2016 epic The Clockwork Fable? With a two disc prologue, that’s how!

The Clockwork Prologue is the first release for Gandalf’s Fist as a six-piece and returns the listener once more to the dark and steamy city of Cogtopolis, a city beneath the surface, the once safe shelter for post-apocalyptic mankind, now a microcosmos following its own crude laws, rules and religions.

I called The Clockwork Fable, “A mesmerising musical masterpiece epic in scope and utterly breathtaking in its delivery” and this companion piece takes what the first release gave us and adds to it with the bands’ singular flair for drama, theatre and the spectacular. The stellar cast of voice actors, including Mark Benton and Bill Fellows, return to give a familiar feel to proceedings but its the musical talents of the band and the ever impressive vocals of Keri Farish that are the real draw.

The Clockwork Prologue isn’t meant to reinvent the wheel, it is meant to add to the wonderment of the original album and Gandalf’s Fist have delivered that in spades.

Released 1st July 2019

Gandalf’s Fist – The Lamplighter (Overture)
Djam Karet – A Sky Full Of Stars For A Roof

A Sky Full of Stars For A Roof is Djam Karet’s 19th album. The group was formed back in 1984, and this is a celebration of the band’s 35 years together.

Combining analog and modular synthesizers with numerous acoustic instruments from around the world, Djam Karet is exploring new territory on this psychedelic journey of discovery. Harmonium, dilruba, mbira, udu and other exotic instruments, help bring a warm vibe to this highly melodic and visionary work. Swirling electronic soundscapes expand to reveal new acoustic environments of exotic goodness.

With an almost spiritual feel to the intricate music, this collection of tunes has a raw feel, almost primeval, literally music that has come from the Earth. This band always produce thought provoking pieces that take the listener out of any comfort zone and take them on an intensely melodic musical crusade and A Sky Full of Stars For A Roof is surely the pinnacle of what Djam Karet have been producing together over all of their 35 years as a band.

Released 15th April 2019

Djam Karet – Beyond The Frontier

So, there you have it. The first in a relatively regular feature on my recommendations. See you soon for the next Progradar Recommends!!

EP Review – ‘Antique Lands: OER Live at ArcTangent’ by Only Echoes Remain

Antique Lands: OER Live at ArcTanGent is the first official release of new material since Only Echoes Remain’s 2017 debut The Exigent, and features several live versions of new songs that will eventually feature on the band’s sophomore studio album (due next year), as well as a powerful version of Exigent ‘fan-favourite’ Aurora.  

Guitarist Arran Oakes told me, “The significance for us is that, being the first official release since the album, it’s a big statement for us since we think we’ve evolved quite a lot musically/compositionally since writing the Exigent over 2016/17. If the Exigent was more post-rock with some prog tinges, our new material is a lot more progressive, with much more elements of post-metal and math-rock, while still retaining those signature OER moments of reflection and euphoria that does tend to come with post-rock. I don’t think we’d call ourselves a post-rock band any more though, definitely more contemporary prog with post-metal influences.”

Following on from the sweeping, monstrous soundscapes and riffs of The Exigent, the new material shows an increasing maturity from this intelligent, thought provoking band.

With as many crushing guitars and riffs as moments of blissful euphoria, the new material demonstrates that OER have picked up the baton from their debut album The Exigent and truly run with it, honing their sound to a tighter, more progressive and more explosive peak.

Their sound on this record is a welcome evolution from the more traditional post-rock of The Exigent, now being far more in-your-face and compositionally diverse – contemporary prog with more than a little post-metal thrown in for good measure, while still retaining those moments of calm melodic euphoria from their post-rock roots.

That’s not to take away from an utterly blistering live version of perennial favourite Aurora which literally raises the roof but the brooding genius of recent single Monolith certainly showcases their sophisticated development, along with the dark and delicious I Am Ozymandias and the pulsating, hard-edged post-rock of Eclipse, another song that fans are sure to take to their hearts.

It all augurs well for Only Echoes Remain’s forthcoming second album, due in 2020. It’s certainly a release I am really looking forward to!

Released 24th May 2019

Order the EP from: https://onlyechoesremain.bandcamp.com/album/antique-lands-oer-live-at-arctangent

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

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

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

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

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

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

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

Released 11th November 2018

Order the album from bandcamp here

 

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

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

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

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

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

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

Released 26th October 2018

Order the album from burning shed here

Review – Viriditas – Red Mars – by Progradar

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

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

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

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

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

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

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

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

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

Released 23rd August 2018

Order the album from bandcamp here

 

 

 

Review – Dean Watson – Track of Days – by Progradar

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

I am now exceedingly grateful that he did!

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

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

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

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

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

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

Released 8th September 2018.

Order the album from bandcamp here

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Released 26th October 2018

Order the album from bandcamp here

Artwork and photography by Ashley Jones.

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

Review – Thumpermonkey – Electricity – by James R Turner