The long form review is becoming defunct in this day of instant gratification and bombardment of new musical exploits. Welcome to the new Progradar review section – ‘Progradar Recommends’ – where you’ll get more reviews (only with less words or some may say less twaddle!).
Starting this new feature will be Marco Ragni, M’Z, Siiilk and Wilson & Wakeman.
Marco Ragni – The Wandering Caravan
“The album is about revolution, about searching for oneself, about metaphysical travel, about memories, about love and suffering. It talks about life, of how we live this Era. It try to push us in search of ourselves, finding the best of us after having passed from the worst of us. It’s a journey into my life. It is passion. It is a desire for redemption. It is a dream and a reality.”
Italian musician Marco has always been one for complicated and involving music using different influences and this new album is no different. Using eastern influences and a lot of woodwind you are treated to an ululating and evolving musical work that rewards concentration and repeated listening. Tracks like Promised Land andKeep Dreaming have a wistful and laid back feel that instantly lulls you into a calm and serene frame of mind.
Marco is joined on this journey by Peter Matuchniak (Lead guitar), Dave Newhouse (Woodwind) and Jeff Mack (Bass) as well as a host of renowned guests included Luca Zabbini and Ian Beabout. What he delivers is eight tracks that are a personal musical revelation from this highly accomplished artist. Listen to songs like Waiting on the Threshold and you will be captivated and drawn into this impressive escape from the mundane boredom of real life.
Not your usual fare for this reviewer but I was intrigued by the album cover of Toulouse artist M’Z’s album ‘Prisme’ and so I decided to follow it up. It is presented as a fusion of rock, electro and jazz and, to be fair, it does exactly what is says on the tin.
To me, there’s just something exciting about the music and the structure of the tracks. Based around some pretty impressive guitar work the keyboards blend in with there elctro-pop vibe and the off-kilter feel is really of free-from jazz. To add even more polish and machination there are some highly energetic and powerful industrial electro vibes flying around all over the place with some punchy percussion.
To quote the artist:
“M is the guitar and Z is the machine, the idea is to also create a bridge between organic and electric/electronic music, a bridge between the code and its acceptance and the need to get out of the code.”
Don’t be put off by the description as, with repeated listens, this album really gets under your skin in a very positive manner. What you get is a thoroughly enjoyable 42 minutes of music with influences from all over the musical spectrum.
A band new to me until I happened to talk to member Richard Pick earlier this year, Siiilk (someone’s finger stuck on the keyboard?) hail from France and produce wonderful, ethereal progressive rock hewn from the genre’s traditional style but with added Gallic flair and grace.
The band was formed in 2010 and have gone from strength to strength, blending superb, intricate guitar work with the lush keyboards and the wistful vocals of Robert and Catherine Pick. The subtle rhythm section is a revelation throughout and especially prevalent on the title track.
The PR stuff – “Siiilk revives its creative power and takes us to the imaginary realms of the mysteries of the soul. Through sensitive and intense sounds, their songs speak about landscapes of emotion and melancholy.”
Listening to ‘Endless Mystery’ is like falling onto the most comfortable bed in the world and letting the sublime, heavenly music wash over you, absolving you of all your earthly sins. Musical catharsis if I have ever heard it, one I suggest you go out and purchase forthwith!
Damian Wilson & Adam Wakeman – The Sun Will Dance In Its Twilight Hour
The second collaboration from this uber-talented duo is another exquisitely created and performed selection of songs where Damian Wilson once again gets to show us his more gentle side for this is another album founded on the big man’s ever impressive vocal and Wakeman Junior’s sublime tinkling ivories just add lashings of polish and verve.
What we have here is another dedication to the art of songwriting and the song. Tracks like opener The Last American Hero, Always The Lonely One and the title track are perfectly crafted jewels of the songwriting art and don’t need any enhancement, you just enjoy them for what they are. Adam even gets to show us his vocal skills on On This Battlefield and their emotive, touching delivery will move you.
“Writing songs with Damian is always a great experience as we tend to start from scratch and follow where the writing takes us. We’re so pleased with how this album has come together. Having Gary Stevenson on board to mix thealbum and add an extra ear from a production background has been nothing but positive. He also has a killer coffee machine.” – Adam Wakeman
After the wonderful ‘Weir Keeper’s Tale’ Damian and Adam have once again proved there are a force to be reckoned with and song writers without peer. Just listen to the nigh on perfect Better Than That with its gentle, piano led opening that slowly builds into a wonderfully up beat, almost raucous, jazz/rock outpouring that just makes you smile, life really doesn’t get much better than this!
Just recently I have picked up on the Channel Four series of Philip K.Dick stories, Electric Dreams, in which dystopian nightmares are played out in mainly normal humdrum situations with a fear of foreboding dread building to a crescendo. Likewise, the third studio album from instrumental band The Fierce and The Dead, titled ‘The Euphoric’, is one that builds and builds, working around a juxtaposition of beautifully crafted melodies driven by crashing, hard driven and downtuned guitar riffs. A major compliment I can pay the album is that should channel four make another series of Electric Dreams this is the band and album that should soundtrack it.
Over the last eight years since their debut release, the ‘Part 1 EP’, The Fierce and The Dead have developed their craft, adding layering and texture to their already formidable playing and production skills. Using their influences whilst retaining their individuality is an enviable skill; one which is often not pulled off but, in the case of this album, most certainly is. You can hear throughout the album the influences of the musicians the band have worked with or obviously admire; from the hardcore metal of bands such as Slayer to the melodic tune creation of a Steven Wilson, The Fierce and The Dead have made an album of deep complexity whilst retaining a simplicity within the riff structure that drives the album on and doesn’t allow it to become samey or repetitive.
The two lead singles from the album are both standouts with the already successful, with accompanying video by acclaimed director Mark Duffy, Truck being followed by, on the 30th March, 1991. Both tracks show off the sound which you can expect from the album with their heavy psychedelia and cross over between guitars and synths being indicative of the direction the band have taken. The band are happy to confound, confuse and surprise in composition and performance which makes this album a fulfilling and satisfying listen.
The album, which is released on the 18th May by Bad Elephant Records, featuring amazing cover art work by Mark Buckingham, will be available in both CD and Vinyl formats. There will also be available limited edition bundles featuring a print of the cover artwork and an exclusive bonus CD of live and demo tracks.
This is great. A big dollop of proper pop. A slice of singalong hooks, followed by the rest of the cake. The earworms you didn’t know you needed until they wiggled down your eustachian tube and wrapped their little bodies round your cochlea. Your new favourite album.
Bad Elephant Music might be a progressive-rock-adjacent label but this is not prog. Sure, there’s the occasional change in time signature and the combining of a few different genres, but nothing of the 1970’s prog world here. This is a song of short, ‘proper’ songs.
Which is not to say it’s conventional, or obvious. Just that it ain’t prog.
I have to declare two conflicts of interest. One is that my music is released via the same label as this album. The other is that I am already a massive Mothertongue fan. I’m not pretending to be unbiased with this review. Ever since I heard the opening lines of their first album ‘Unsongs’ I was in love.
‘I’ll work the pedals and the devil can steer, things are gonna change, gonna change round here….’
Where ‘Unsongs’ was written across different sessions and several years, ‘Where the Moonlight Snows’ was a recorded as one project. Where part of the charm and brilliance of ‘Unsongs’ is that it sometimes has the whole band throwing their kitchen sinks at the listener at the same time, this a more crafted affair. The band have really thought about arrangements here.
Just as I typed that, the song Ofelia, playing in my headphones, got to a part about 4:20 in where a vocal countermelody joins in, along with some drums and high pitched arpeggios in the right hand speaker. You get the impression, with little moments like that, that Mothertongue have really spent a hell of a lot of time making this thing perfect.
One thing I also learned from interviewing them is that the band has a UBS stick of ideas that makes its way around the band, being added to and mined for songwriting ideas. There are sections of songs here that have been hanging around for ages, waiting to be finished, right up against what I presume to be newly minted moments. I couldn’t tell you which is which, though I know it’s true. The finished songs are seamless.
What does it sound like? There’s plenty of English rock song here. I’m not sure of the band’s influences, but it reminds me of the indie rock that I loved in the 90s. That sensibility certainly seems to form the base of the band’s songwriting, but you can add to that moments of Americana, and the sort of string and trumpet playing that wouldn’t be out of place in arrangements of the Great American songbook.
There are three guitar players in the band, a trumpet player and a great rhythm section (not to mention great flute playing and perfectly adequate keyboard playing from guest musicians) and yet never once do things go latter-day Iron Maiden. You’re more likely to get a tasteful bit of delay-laced picking, minimal bass and sparse rhythm guitar than you are to get a wall of powerchords. I swear there are only a few places on the album where the whole band play together at the same time, but when they do it properly rocks.
What are the songs about? I have no idea, to be honest. I don’t think that’s necessarily a sensible question. What you get with Mothertongue is a relentless cavalcade of bizarre imagery, surreal semi-rants and words that you never expected to hear in the same sentence.
‘I climbed out of the creature tree to see myself what I could see.. it’s getting weird as a wasp in a beehive.’
‘Beware of the dog-headed moon’s lunar snare’
‘Dream a dream I did, As a young toothless kid down a twisted road where the river flowed upstream.’
I pretty much love every line on this. I haven’t given a second thought to what the lyrics might be about. Because meaning in popular music doesn’t come primarily from the lyrics, they’re just one element along with hook and groove and melody and arrangement.
(Photo by StudioStead Photography)
And when you put all those things together, what do you get? You get a collection of songs you can loose yourself in, to singalong to, to rock out to, to be slightly thrown when – as The Bullet has just done in my earphones – an unexpected synth line and fuzzy guitar suddenly takes you down a path you weren’t expecting.
Part of the charm of Mothertongue’s first album was it sometimes it really rocked out, but in between those rock songs it would throw something like Shango at you, which had no guitar on it at all, and was all about the vocals and horns. That inventiveness is just as present on ‘Where the Moonlight Snows’, thought it is fair to say this album has fewer out and out rocky moments than it’s predecessor.
What it does have is hooks. Armfuls and bagfuls of hooks and tunes and songs that you really need in your life.
Highlights for me? Blue Wicked Heart, Shipwreck Song, Ofelia, Earthbound…
And the rest. It’s all a highlight. It’s Mothertongue.
The man called Gerrit rounded the corner, his earphones mingling the noises from the factory to his left with the music on his mp3 player, whilst the lost and lonesome dragged through another evening shift on minimum wage to keep the corporate wolf from the council house door. Under-appreciated he mused, he couldn’t, wouldn’t want to do their job.
His gait slowed as string like arrangements filtered into his ears, the pavement glistening, umber under the old street lamps and the damp air leaving a moist layer on the paving stones. The fog had crept in and choked the visibility down to a couple of hundred yards as he turned to stare across the cobbled street and the boarded up building opposite, hunched in the dark like a homeless giant huddled against the cold night air.
Gerrit Koekebakker pulled his sagging coat collar closer and his hat down in a futile attempt at shutting out the cold, then he stepped on to the cobbles and crossed to the old club. Fading, crinkled pictures in rusting frames, telling of faded stories from the past he had once been part of. He stared at them momentarily, reached into his coat pocket and removed his flat keys, pressing them firmly against the edge of one of the frames until it popped open fractionally and he could remove the photo. He stared at the curled edge photo for a second. She was in the picture serving at a table, his waitress.
Lamentation had been his only friend when he had lost her.
He took the key from his pocket, unlocked the door, stepped into the dank, dark entrance and secured the door behind him. Using the light from his phone he found and flicked the fuse box switch. The lights fluttered on and he pushed through the musty red velvet curtain to reveal the club interior. It was two years since the band had played here, the club closing shortly after the last gig. It hadn’t changed in here though the world outside had moved on. His memory ran footage of the band up on stage, familiar faces mingling with newer ones in the audience. Things had seemed on the up when they left that night, he’d bagged the girl he’d fancied for some time and the band were gaining interest from promoters and labels.
Funny how it can all turn in an instant, a strummed guitar picked up the story.
He’d seen the waitress home with a promise to call the next day, returning to the place he shared with his Mother only to find an ambulance outside, lights flashing.
What would he do without her, his Mother had always been there for him, he hadn’t pictured her leaving. Distraught he stumbled through his emotions over the following weeks, haunting melodies playing in his head. Shutting out the empathy and rejecting company, he remained in the house leafing through old photos, solace in a bottle as he tried to fill the emptiness inside, the sounds of sorrowful guitar and keys mixing with sombre bass and drums intensifying from the stereo’s speakers, trying to crush the misery. He shunned his band-mates and the waitress. The club manager left messages terminating their residency with regret due to closure, one thing after another. The band fractured without him, going their separate ways to try and earn a crust.
Dropping the curtain behind him, he wove his way through the booths toward the dance floor as the last few guitar chords faded. With the bar to his left he stood on the dusty wooden floor before stepping on to the stage and turning to look around the room.
The waitress. He never thought he was in with a chance, always some big-time money boys around handing out fat tips, expecting repayment with interest. He was a jobbing musician, living with his Mother, what could he offer. But slowly over the weeks he’d watched her long legs in silk hose strut paths through the smoke infested punters, dodging the groping hands and lewd offers, always smiling, her lips the colour of cherries, and blonde curls of hair bouncing and floating as she turned and shimmied the shuttles between bar and tables, navigating trays of drinks to arrive unspilled. She would flash the ruby smile and he was entranced with her laughing blue eyes, just one night would be enough.
The night he walked her home she told him how pleased she was that he had finally spoken to her and asked her out, she had been waiting. She had been there some days as they rehearsed, pausing to sway to the languid keyboards and echoing guitar creating ripples of notes through the air, sometimes she would seem miles away, her body slowly dancing, shut off from everything around her and lost in the music…….How could he take her from being so happy only to make her the Loneliest Of Creatures.
Thoughts of the waitress made him smile wistfully and he slowly shook his head as the track rose on his plaintive vocals, the music turning heavier and distorting into the final keys from Remco den Hollander.
The next track plunged from his pocket and into his ears with a burst of heavy fuzzed guitar-work from Michel Varkivesser and Remco’s keyboards, Manuel Renaud’s drums bouncing vigorously alongside the bass of Fernandez Burton, before swirling into an echoing key loop and his voice began to sing about the Prison Walls he had built around himself…
Surrounding himself with a blanket of darkness trapped behind bars of his own making, he’d existed, barely, not considering the future or making decisions. There has to come a point of balance from which you start to return, or disappear. He resolved then, no more misery, things would be like before. It wouldn’t be easy but as the music strode out in a vote of confidence, he opened the curtains allowing the light to flow like liquid gold over the interior of the room. He couldn’t keep this place in darkness like a mausoleum any longer, it was his Home.
There was a noise. He pulled out the earphones as thunder and lightening rolled overhead outside and he could hear rainfall on the roof, accompanied by slow dripping into the bucket across the room. That would be fixed. He pondered on the quiet in the room and pushed the phones back in his ears, dismissing the air of loneliness. The most deafening screams were those of silence.
He had been at the stage where he’d wished someone would take this life away from him, the times he lost control during his period of mourning.
A hopeful guitar solo rose from the ear-bud speakers.
There had been a lot of Uncertainty to deal with, at times it felt he was taking one step forwards and two back towards the place where he had longed for seclusion. The darker moments of music echoing his moods but glimmers of hope being punched through by the drumbeats and guitar soloing as the long rebuild of his life began to piece together.
He’d contacted the band members, understandably there were Departures,a couple having made their own paths, but some of the old gang were still interested and they could audition new members. Where there had been a void of black and a writhing kaleidoscope of shadows, the jigsaw of his shattered soul that had promised fear forever more, began to free itself like a bird released.
Gerrit reminisced how he and Fernandez had recruited Michel to flesh out the guitar sound giving it a heavier edge and to provide backing vocals. They brought Remco and Manuel into the fold and whilst retaining the core sound of the band, impressed their own bass and drum styles into the music, as rehearsals and recording began with new found zest.
As the album tracks formed, the addition of guests Steen Gees Christensen playing duduk, and backing vocals from Inge den Hollander added different flavours to the mix, with spoken words from Joanne Platts highlighting the passages.
Confidence rebuilding there was one more matter to take care of. He thought she would have found someone else, but those he asked advised she was still single. He needed to see the smiling eyes and laughing lips on that Familiar Face. With trepidation and sweaty palms he arrived at her house. He’d hurt her, would she turn the key and let him in?
He knocked on the door, it swung open and there stood the waitress just as he remembered, the sunshine to his rain. With no remonstration and the sparkle in those blue eyes re-ignited, she flung her arms around him and kissed him deeply, it was going to be ok.
And so it was, his smile broadened as he sat on the edge of the stage and thought of the upcoming wedding, To Have And To Hold. He hoped his parents were looking down on him and he was making them proud.
And then there was the club. He had bought it using the monies left by his wonderful Mum and the savings Dad had put away which she had never spent, saving it for him to help when she had gone.
He’d best get going or he would be late for band practice. One last look round the room as it was, the builders would start the refurbishment work in the morning. Within a few weeks all would be transformed, a new look interior and a familiar band in residence for the grand re-opening.
He made his way out on to the street and locked the door. The rain had stopped and there was an added spring to his step as he disappeared round the corner.
Whilst the line up has altered, the sound from the last album remains but with an added edge. I enthused about the first album ‘Tides’ and still love it, so it was a real pleasure reviewing this sophomore offering that more than matches it. What influenced me reviewing the last album has inspired me again and rather than a straight track by track review of ‘Departures’, I felt the best way to do this was extend the story.
Those with a keen ear will notice references to the lyrics woven throughout the review and the musicianship on ‘Departures’ is as fine a production as you could wish, oozing with slick, languid rhythms and blossoming crescendos. If you liked ‘Tides’ then ‘Departures’ is a must buy. I have still to see Downriver Dead Men Go live but who knows I may stumble into a hazily lit, down-town bar someday and find them on stage. I hope so.
“…if I’m lost, I’m on my phone, you can always find me, Tesco’s have a read on how much lager I will need to unwind me..”
The lyrical genius of Sleeperman once again brings a smile to this tired old hack’s face. Sharp, canny and incisive lyrics are becoming a real U.S.P of this clever band which, along with music that always hits the spot, are making them a highlight of this musical year for me. The third single release of 2018 is Loyalty and the guys once again tweek a winning formula by giving a little bit of eastern promise to their sound.
To quote the band, “NEIL’S SITAR INFLUENCED GUITAR MOTIF IS AN (ARRANGED) MARRIAGE WITH JOHN’S LYRICAL TRIBUTE TO THE BARD IN A TALE OF SUPERMARKETS AND PERSONAL IDENTITY. “
That Indian influenced guitar motif is incredibly catchy becoming an earworm and one that gives additional polish to what is already a very impressive song. I’m probably not the only one who actually rewinds the song so that they can listen to the witty and pithy lyrics which, combined with the excellent bass of Steve and Phil’s elegant drumming, advance the coda of Sleeperman further on up this involving musical road.
The B-Side Peace of Mind and a Good Night’s Sleep compliments Loyalty perfectly, you must take the time to get immersed in these musical storytelling gems, independent music seems to be forever fighting a rearguard action against the corporate bullshit that abounds in the music industry of late but, with bands like Sleeperman giving us intelligent music with stories that we can relate to on a personal level, long may that fight continue.
Let’s get something straight from the off, there are no zombies and (unfortunately for the hungry ones out there) no sign of any picnic of any variety but, what this striking album cover does contain is a very intriguing and involving six tracks of mainly instrumental music.
There seems to be a real clamour for that instrumental album with ‘snippets of archival voice recordings’ at the moment. Take Public Service Broadcasting and Nordic Giants for starters, and I’m a fully paid up member of the appreciation society!
Now Northern Ireland’s Zombie Picnic return with their second album and this time around the post-rock progressive four-piece presents six connected instrumental tracks spanning the two sides of this new LP. Combining a vast array of progressive musical influences with snippets of archival voice recordings (there you go, told you!) from thinkers and futurists of past and present, ‘Rise of a New Ideology’ delves into some dark and ambiguous places.
What we get is six pieces of thoughtful, intelligent music that really get you involved in this album. Opener Democracy Cannot Survive, with its slow burning, dark and sombre feel, starts things as they mean to go on. The contemplative, methodical rhythm section really gives focus to this song and the wispy, spaced out guitars take you on a magical mystery tour. It is nine minutes of mesmerising, metronomic music that draws you in to its earnest embrace. They See Science As Dangerous has a real west coast feel to it with the more psychedelic guitars and edgy drumming, where the previous track was all softness and rounded edges there’s a sharper, more blunt feel to the music on this song. Pugnacious, punky and in your face, yet with a 70’s feel, it is a well thought out piece of music. DEFCON is as laid back and chilled as they come. Nostalgia is there in droves and it has a lazy and hazy summer feel to it, life is good! It opens up into quicker paced, more insistent track with some stylish guitar playing but it never loses that twinkle in its eye or that skip in its step.
There seems to be almost a sea-change as we come to track four where the spaced out, ambient sound takes a sharp ninety degree turn and becomes a lot more alt-rock and punky. Life-Support Systems sees an urgent, jangly guitar note take over and the rhythm section seems to press the fast forward button. It’s a clever contrast in styles and gives the album added impetus. There are a few lulls thrown in to give some context and the guitar playing really does go up a notch, they’re a really talented bunch these guys. See Beyond sees the band take another chill pill and give us another luscious and relaxed track where life seems to move at a much more easygoing pace and becomes nonchalant and spontaneous. The music takes on a breezy feel in places but there is always that feelgood undercurrent. Bang! That’s the hit to the auditory senses that the raging intro to Anger in Storage (Denial Will Follow) gives you, a violent mini-storm of angry music that blows you away. There is a calming of the storm but that uneasy, restless feel remains and you’re never far away from a Nirvana-like blast of guitars and drums to lull you out of any false sense of security you may have built up. An impassioned and cleverly indignant end to what has been an intense whirlwind thirty seven minutes of music.
I’m a big fan of music that takes me in a new direction and gives me a little something that I haven’t had before. The exemplary musicianship and well-crafted songs on ‘Rise of a New Ideology’ take an acknowledged genre and take it to the next level. Zombie Picnic are a band who are going places very quickly, just don’t expect rotting flesh and sausage rolls along the way…
Thirteen years ago Kino opened the doors and eager fans flocked to the blockbuster ‘Picture’.
Starring a stalwart cast of Trewavas, Mitchell, Beck and Maitland, much was expected. Fans and critics alike gave the collaboration a warm reception and they toured venues with Spock’s Beard.
One may have expected to see this Super-group follow up their success with a ‘part 2’, or a ‘return of’, individual commitments permitting, but it all went quiet.
The projectors stopped rolling and the doors closed. Dust settled on the red velour seats, whilst spiders built webs across discarded popcorn containers and their remaining contents long since dried and adhered to the now moth eaten carpeted steps. The lights went out, the drinks machines dried up and a distinct musty hot dog scent drifted on the dust motes, floating across the sunbeams coming through the smeared window panes of the foyer.
Nothing in the last 13 years, barring a vinyl release of ‘Picture’, until, out of hibernation they emerge with new offering ‘Radio Voltaire’.
So what to expect, most of the original cast are back, starring John Mitchell (Lead Vocals/Guitar) and Pete Trewavas (Bass/Backing Vocals) with special guest appearance from John Beck (keyboards) along with a co-starring role for Craig Blundell on the drum stool, replacing Chris Maitland who had in reality already left the band before the release of ‘Picture’due to other commitments.
But this is a somewhat different affair to the first album and was a far shorter gestation period in the making, with the main driving forces being Trewavas and Mitchell (who also produced, coordinated and organised everything). Having been ready to start work on a further Lonely Robot album, it was suggested by Inside Out that Mitchell might consider the idea of a new Kino album and after a fruitful meeting with Trewavas unearthed the fact they both already had some material between them, they completed the writing process in August 2017. The recording process ran smoothly and was completed over the final two months of last year.
Will this album bring them back into the spotlights again and reintroduce the glitz and glamour of yesteryear to become another cinematic offering to great applause, or will it be confined to the bargain bins with lacklustre ‘B’ movies, as the ravages of time dealt their scorn and indifference?
With a striking album cover design from in demand artist Paul Tippet we’re off to a good start, let’s see. The lights go down, the curtain opens and the silent motion of the digital projection hits the screen…
A crackling German 1920’s radio announcement for Radio Voltaire the title track, preceding John Beck’s swirling keyboards before guitar punches from the gramophone speakers, settling into John Mitchell’s familiar voice building harmoniously on driving rhythms from Messrs Trewavas and Blundell, to epic guitar swashbuckling from Mitchell in his own inimitable style, as scene one fades in the echo of sonar.
Dusty German voices (must get the stylus cleaned) introduce the plunking keys of first single, The Dead Club, as heavy driving guitars and ‘spacey’ swirly knob/key twiddling projects into our ears as this scene races along, spewing PopProg fuel in it’s wake. Building into an edgy musical storm before the repeated track title from John 1 concludes with John 2 stabbing furiously at those terrified keys and we are blasted off track from a ray-gun synth. Kino are flying.
Gentle, haunting keys from the fingers of John Beck break the pace as John Mitchell pitches the emotional vocals and beautiful lyrics of Idlewild perfectly. Swelling gradually, it comfortingly fills all your instrumental emotions as you sit transfixed on the ballad playing out on the screen, dabbing at the corner of your eyes.
A pastiche of 70’s classic rock influences abound on track 4 which, without the guidance of our illustrious Director in Charge, Mr Mitchell could easily have fallen into a derivative mess. I Don’t Know Why anyone could possibly think this fabulously talented quartet wouldn’t pull it off, as they are all performing at the top of their game, adding just the right touches to keep it a refreshing, glittering smile and wink homage.
We are returned to a twenties, cobwebbed vocal/piano introduction (where is that needle brush?) which is suddenly robbed by a cheeky riff on The Who’s ‘Won’t Get Fooled Again’ from Mr Beck, as JM tells us I Won’t Break So Easily Any More. Blazing guitar work, throbbing bass and thundering drums between only slightly restrained verses, with a nod to a MMEB keyboard style, are all rolled into a perfect Kino energy bar.
A Baroque style, acoustic guitar and piano riff dance balletically round Temple Tudor castles, as the wistful lyrics are delivered with honest emotion, crafted beautifully.
The ticking clock with ringing alarm bell, breaks us from our reveries as we are rocked into a warning of our own mortality spanning genres and tempos as we are advised we are running Out Of Time. Pete Trewavas and Craig Blundell shine and glisten like polished glass, as they blend in and out of each other. The commanding bass rhythms are splashed with drops of time signatured percussion that leave you hanging on the edge of your seat wishing it would never end. Anyone who knows me is aware I am not a great lover of jazz, so believe me when I tell you this is a delicious feast for the ears.
Relax in hazy summer keys and soft wispy clouds of vocals as they float above us in the Warmth Of The Sunbasking in this soothing moment of relaxation.
Craig Blundell‘s percussive patterns navigate us back on board for the ride around Grey Shapes on Concrete Fieldschanging tempo and showcasing his phenomenal mastery with panache. Driven with keys, guitars and vocals on a race, hitting a breathless abrupt end, that comes all too soon for me. You just want tracks like this to never end.
If there is to be a ‘B’ movie actor on this award hunting album, it would be this track for me though I should Keep the Faith. There is nothing inherently wrong with the music or vocals, but it treads water after the fire of the previous track and the relaxing interlude before it. As the penultimate track it applies the brakes as we had just begun to press the accelerator down the finishing straight.
All is forgotten as the The Silent Fighter Pilot, flies into view for our final foray across the silver-screen, engines roaring defiance as it passes overhead. Telling the the story of a fighter pilot giving his life, through John Mitchell‘s embittered vocals with his raging guitar showering notes like bullets of vengeance. Struck by the futility of war, a fatal blow that sees the track spiral out of control to it’s tragic demise, in a haunting memory.
I’m struck silent for a minute and the Wow!
Wow! Wow! WOW!
‘Radio Voltaire’ is a must buy for anyone who liked ‘Picture’, who rate anything the band members have produced in the past, in fact all lovers of Prog music at it’s most sublime.
Everyone performs like their lives depend on it, with a joyous freedom to explore, whilst keeping the Kino sound they have built, but expanding the experience to ear busting IMAX levels.
I declare this cinema well and truly open for business and suggest getting your tickets booked, this could attract a full house, night after night.
Life never stands still, the world rotates on its axis at around 1000mph (it’s less as you get North but you get my drift!) and day becomes night. The years pass quicker, or so it seems, and the sheer volume of music that is released gets bigger and bigger all the time.
Because of this it is impossible for me to hear every new release that would perhaps pique my musical curiosity and it pains me to think that I will have missed some gems as the clock keeps ticking. However, I can console myself with the wonderful releases that I do get to hear and enjoy.
I’ve been talking to John Holden about his great musical collaboration ‘Capture Light’ for well over a year now and I was honoured to be one of the first to receive the completed article a couple of months ago. I have listened to it multiple times and now feel ready to write my review…
Over two years in the making, an immersive and evolving album opens with the Joe Payne sung track Tears From The Sun. A symphonic and operatic tour-de-force featuring Oliver Wakeman’s keyboards, it has a feel of where The Enid could be now if they hadn’t imploded. After a quelled opening the bombast begins with multi-layered instrumentation before Joe’s distinctive vocal gives the track life and shape. As opening tracks go, this really does take some beating with John’s great music being complimented by his and Elizabeth Buckley’s fine lyrical accomplishment. A complex musical mosaic that keeps your rapt attention all the way through, Joe is on fine form and gives the song a flamboyant drama.
Crimson Skytakes a more symphonic rock oriented route with Julie Gater’s vocal giving it a Celtic rock infused tone. Hard edged and heavier, there’s a feel of early Karnataka to my ears. The powerful music is complimented perfectly by Julie’s dulcet tones, especially on the catchy chorus. Listen out for the superb guitar solo from Billy Sherwood (yes, THE Billy Sherwood) which adds a real sheen of class to what is already a pretty impressive song. I’m already beginning to love the diversity that John has brought to this album and we’re only two tracks in!
John proves he can tell a great story with the excellent title track, full of drama and intrigue, you’ll have to buy the CD to get the whole story but the musical journey is an engrossing and compelling one that will hold your attention throughout and I had to read the credits twice to realise it was Joe Payne who was performing the fantastic vocals again, this guy is pure talent. Oliver Wakeman’s elegant piano playing once again graces the song and adds real pathos to what is already a dramatic and emotional piece of music and let’s not forget Oliver Day’s stylish guitar, lute and mandolin. Let’s be fair, music has forever been about telling stories and John Holden is already proving to be very adept at it.Capture Light will be one of the most enjoyable and absorbing history lessons you’ll ever have…
A choral mantra that could fit a Andrew Lloyd-Webber and Tim Rice musical, Ancient of Days is an uplifting track that just seems to bring a ray of sunshine along with it with it’s tribal feeling music and the great vocals of Jean Pageau, ably backed by Lee-Anne Beecher and Marc Atkinson. I could quite imagine this song being part of something like Lion King or Joseph with its great theatrical feel. A real shout out must go to Emily Dolan Davies whose skill on the drum kit is utterly evident here.
A song all about Jesse Owens and THAT race in Berlin, One Race is possibly the most progressive track on the album while not being that progressive (if that makes sense?). Joe Payne delivers another consummate vocal performance and the harmonised parts with Max Read give a real Celtic overtone, in fact the whole track reminds me of Clannad or Enya in places. It’s another well crafted song with a great storyline that works brilliantly along with the rest of the tracks on the album and the guitar playing just gives added impetus to the sensation of running along with the narrative.
Now onto the one track that I didn’t click with straightaway, Dreamcatchingseemed a bit trite and twee to me on first listen, not quite gelling with the other songs on the album. Trying to explain the legend behind dreamcatchers using spoken word, song and music, this piece of music will either captivate or alienate in my opinion. Repeated listens have led me to appreciate it a lot more, while not actually loving it like I do the majority of the other songs. What does work very well though is the lovely flute and sax work from the ubiquitous Peter Jones who does a good job of adding whimsy and warmth as well as backing vocals along with Julie Gater.
London Grammar, that’s what I thought when I heard the first ultra-cool strains from No Man’s Land with it’s jazzy backdrop to Julie Gater’s silky smooth vocals. A song for lazy days in hazy summers, its chilled and easygoing vibe seems to seep into your very being. The feel good atmosphere seems to infuse every instrument, Gary O’Toole’s polished drum playing and Oliver Wakeman’s relaxed piano and keyboards are the height of sophistication.
A dreamy and contemplative song, Seaglass Hearts is full of longing and the vocals give pause with their elegant reminiscing. A nice interplay between the voices of Peter Jones and Julie Gater give a modern folk feel to the track, one full of wonder and playfulness along with Peter’s soulful sax playing. A sentimental ending to the album, enforced by the sparse piano that fades us out to a close.
A captivating journey through the mystical and historical, ‘Capture Light’ is an accessible, melodic tour-de-force that reveals more of its hidden depths with each listen. John Holden has collected an impressive group of musicians and given us a release that could well be a highlight of the year already.
So, the Sleeperman singles production line has released the second of their ‘new single every month’ releases and I have the pleasure of reviewing it.
This time the East Yorkshire quartet seem to have taken a chill pill with new track ‘You Would Not Be Seen Dead In A Shirt Like That’ and ‘B’ side ‘Black Ice’.
The CD single comes in the usual faux 45rpm vinyl 7″ packaging which is becoming a really nice touch but, much as I’m a sucker for great packaging and album covers, it’s the music that is ‘inside’ that counts!
As is becoming patently obvious with Sleeperman it’s not just the well crafted music that counts, it is also the clever, pithy and pertinent lyrics that make their songs stand out and the wistful, nostalgic grace of ‘You Would Not Be Seen Dead In A Shirt Like That’ is no exception. John Hilton’s wonderfully laconic and laid back vocal delivery once again delivers wry observations that make you smile, his occasionally sardonic voice is a perfect fit for the roots and alt-country inspired guitar playing of Neil Scott and makes the song a wonderfully laid back three minutes of near empathetic perfection.
“The saddest thing I ever saw was an old man alone in the light from a corner shop, his coat was too big, he was crying into his cupped hands…”
The ‘B’ side ‘Black Ice’ is a bit of a departure for the band and takes a different musical direction to what they delivered before. The repetitive, urgent and yet low key guitar intro give a feeling of hesitancy and John’s vocal has a pleading tone. It’s another intelligent three minutes that grabs your attention and keeps you on the edge of your seat. Pared back and minimalist, it almost ghosts across your senses and leaves you in a state of calm bewilderment.
They’re a clever lot Sleeperman and what they are doing is taking us back to the great era of music when the anticipation of newly released singles was almost too much to bear. Not only that, they are delivering on that anticipation big style, this is music for the music lover, music to cherish and not the usual throw away rubbish that seems to assault the charts nowadays. I take my hat off to them and long may it continue!
Released and remastered on Esoteric Recordings, these are the first three studio albums from musical pioneers Colosseum, covering a magical musical period in their life from 1968-1970, and complete with in depth sleeve notes, bonus tracks, and on ‘Valentyne Suite’, the complete American version of the album ‘The Grass is Greener’, which differs substantially from the English version.
As a band Colosseum were to have a massive impact on the nascent progressive music scene (a differentiation from what has been lumped together as prog, subtle but vitally important to understand) where they came from the ranks of the Great British Blues bands that stalked the land and led to the emergence of other bands as important as Fleetwood Mac, Cream and CCS among others.
These three groundbreaking albums came from the time when musicians were keen on creating something new, something vital, something brave and original and it shows here, these are no mere copyists doing what someone else does because that’s how it’s done, these are some of the true pioneers of musical innovation.
From John Mayall and Graham Bonds bands came Jon Hiseman, band leader and renowned drummer, Dick Heckstall-Smith legendary jazz saxophonist (whose solo album ‘A Story Ended’ is a tour de force of musical genius) bassist Tony Reeves. Dave Greenslade came from working with Chris Farlowe and there’s James Litherland on guitar fresh from the Manchester music scene.
Having worked together the core of Jon, Tony, Dave and Dick were already musically tight, and with James adding extra guitar and vocals, the band appeared almost fully formed, and with lots of experience in the jazz and blues scene, and a very clear vision from Jon Hiseman about what the band wanted to achieve.
As a result the debut album, released in March 1969, ‘Those Who Are About to Die Salute You’ (from the phrase Roman Gladiators said to the Emperor before going into the Colosseum – Hiseman is a bit of a Roman History buff) which is reflected in the bands name, and indeed a rather spectacular track Ides of March, which is where they start with a Bach piece and end with a stunning musical moment between Litherlands guitar and Greenslades organ work.
As is usual with debut albums from this period, the majority of the music is what was the band’s live set, recorded on the hoof in between gigs, and features a couple of covers in amongst the bands originals, setting out their stall with a cover of the Graham Bond classic Walking in the Park, complete with Henry Lowther guesting on trumpet, this lays out the band’s stall right at the start.
They were an amazingly tight musical unit, and the combination of Hiseman and Reeves on drums and bass, provide the foundations for Litherland’s guitar, Greenslade’s organ and Heckstall-Smith’s sax to flow freely.
Coming from that loose improvisational musical scene, the melding of the jazz and blues influence into a harder rockier sound comes naturally to the band, and on songs like the Leadbelly cover Backwater Blues, Litherlands vocals, and the astonishing sax of Heckstall-Smith’ takes the blues and pushes it into a completely different direction to the one taken by other former blues merchants like Black Sabbath or Led Zeppelin.
Original material like Dick’s The Road she Walked Before, or the sort of title track Those About to Die, which has some amazingly taut musical twists and turns, with some fantastic jazz rock drumming from Hiseman, who always seems to be overlooked when lists of ‘best drummers’ appear, and yet on here he combines power and subtlety as well as being the timekeeper, and holding the band together, again you only get music as good as this from musicians who have all played live together, and can turn that spontaneity and improvisational skill into great music.
To modern ideas it seems inconceivable that you can literally tour and then pop into a studio and bang out your live set as a new release, you know that if you did that today then it would be up on You Tube or some Russian Streaming site before the lights had gone up.
By the second album, ‘Valentyne Suite’, (the three part title track of which makes up the original second side of the vinyl) the band had made an impact, and their debut had made number 15 in the album charts (again with the perspective of time and distance, it’s hard to imagine that happening in this day and age with the whole industry fragmented). With the same line up, and the same producers of bassist Tony Reeves and Gerry Bron, the band had by this time started improvising and writing new material to fit into their live shows.
Again the band were a hard working band, and the albums would be recorded in the daytime before they would fly off in their van to another gig in another town.
The ‘Valentyne Suite‘ record is notable for a number of different reasons, 1) it was the first record released on the nascent Vertigo label, 2) It features that stunning enigmatic cover by Marcus Keef in his own inimitable style, 3) it’s a bloody good record.
From the opening The Kettle, the band have melded into a tight and powerful unit, and that shows in the fact that the only guest writer was Pete Brown (Jack Bruce lyricist and friend of the band) who contributed the exceedingly accurate lyrics, foreshadowing events in his usual style, to The Machine Demands a Sacrifice, James Litherland’s maturity as a songwriter and guitarist shows here as he adds his vocals to the damn fine Elegy, as well as the driving Butty’s Blues.
However the centrepiece here, and one of the most important tracks on the album, and indeed in the bands career, is the three piece suite Valentyne Suite, which with it’s linked parts, musical themes and powerful performance was responsible for showing bands how long suites can work on record, and is as fine a piece of true progressive music as ever there was. From recurring musical motifs, some sublime sax work from Dick Heckstall-Smith (there is nothing finer in the world than hearing a sax solo in full flight) and the combined musical prowess of the band, every member shines as the Valentyne Suite propels music forward at a rate of knots. Flitting dexterously from jazz to blues, to rock, and with recurring themes and riffs reappearing, the idea that rock music can create mini concerto’s is shown here to best effect, with the band making it seem effortless as the music fills the room. Ably aided by arrangements by Neil Ardley throughout the album the band’s ambition matches their performance. The Valentyne Suite is an absolutely brilliant piece of music, and released in November 1969, a scant 8 months after their debut was released, it shows just how far they had come in terms of compositional style and musical prowess.
This expanded edition includes the American release ‘The Grass is Greener’ (named after the closing section of the Valentyne Suite) in January 1970, by which time James Litherland had left the band and been replaced by Bakerloo guitarist Clem Clempson (and if you haven’t heard Bakerloo’s album, it’s worth a spin) and this release took the tracks Elegy, Butty’s Blues, The Machine Demands a Sacrifice and The Grass is always Greener, remixed and with Litherland’s guitar work replaced by Clempsons (although Litherland’s vocals remain on Elegy) and 4 new tracks recorded by the new line-up, the powerful rock song Jumping off the Sun (a track given to Hiseman by the late Mike Taylor) which shows Clempson’s different style to Litherland, and how easily he fitted into the ethos and sound of Colosseum, whilst the Greenslade/Heckstall-Smith composition Lost Angeles (with Clempson’s superb vocals adding to the sound), with the power underneath, hints at how the band were developing, especially with Clempson’s sublime solo work. Rope Ladder to the Moon is a cover version of the Jack Bruce song, with some great swinging performances from Heckstall-Smith and Greenslade, showing how versatile this band could be, whilst Bolero is exactly as it says on the tin, Ravel’s Bolero Colosseumed up to the max, with some great guitar work from Clempson, and some musically deft touches from Greenslade.
As a holding exercise, this is a great album, and one that shows the power of this line-up, being the only music recorded prior to Tony Reeves departure, and now again it’s inconceivable that the same band would have a record released in the States that was different to the one in the UK.
Pulling together this collection is great as it shows how the band were evolving and developing as they grew. I would say if you are a fan of truly progressive music (not just prog) then you need the ‘Valentyne Suite’ in your life, and it’s probably as good a place as any to start with Colosseum.
Released in December 1970, their third album ‘Daughter of Time’ saw the bands line-up evolve even more when Tony Reeves left to go into production, being replaced initially by Louis Cennamo from Renaissance, who didn’t quite fit, so Mark Clarke came in on bass joining the core of Hiseman, Greenslade, Heckstall-Smith and Clempson. The band also decided that they needed a vocalist, so Greenslade approached his old colleague Chris Farlowe, who surprisingly said yes.
This is a revelation of this album, as the bands compositional scope grew, so did their musical ambitions, and with Neil Ardley helping with arrangements for brass and string sections augmenting the mighty six piece, this is an album that could only have been recorded and released in 1970.
That doesn’t mean it has aged or dated at all, it just has that power, that scope and that imagination that musicians in those days had, the idea that nothing was beyond your reach or aim and that freedom to do what you wanted.
The opener Three Score and Ten, Amen is a statement of intent, with Farlowe’s powerful vocals even stronger than Ian Gillan’s, and the addition of Clarke on bass to replace Reeves is perfect, as he works so well with Hiseman, and throughout the musical confidence is so strong that this is a track that grabs you by the scruff of the neck, pulls you in and demands you listen.
On this, what would turn out to be their last original studio album, the only cover is the Jack Bruce/Pete Brown track Theme From an Imaginary Western, given some real musical clout here (and again showing how close these bands all were, with members of Colosseum having played with Bruce in John Mayall’s Bluesbreakers, as well as contributing to his solo albums) and Farlowe is again outstanding on vocals.
Musically at this point Colosseum were a big band, and they needed someone with the vocal chops to stamp his mark all over the material, and Farlowe more than puts his stamp over it.
Again when you look at your Gillans, your Plants and your Rod Stewarts from this era, its astonishing Farlowe doesn’t get the recognition he deserves as he has everything on this album, power, swagger, an amazing range, and in parts his voice is another instrument to be utilised.
New boys Clarke and Clempson fit right into this incendiary musical mix, as Dave Greenslade stamps his personality on this, with all but two of the original tracks being co-writes (and in certain areas you can see where he’d go next with his eponymous band).
The fantastic Take Me Back to Doomsday features Clempson on lead vocals, recorded prior to Farlowe joining, and it sounds amazing, and Clempson, despite having a superb voice would rather focus on his guitar work.
That is not to the detriment of the album, each musician, particularly Greenslade, Hiseman and Heckstall-Smith had developed a groove and a natural way of working together, and as Clempson, Farlowe and Clarke gelled so well, this album is the most accomplished, most satisfying and most ambitious of the three studio sets.
Of course, this being 1970 it features a drum solo by Hiseman, recorded live and included on the record called The Time Machine (because that’s what he was) and yes, it’s a drum solo, but John Bonham was doing them, even Ringo Starr did on Abbey Road, so it’s very of it’s time, but as an example of Hiseman’s musical prowess it is a fantastic calling card.
This was a fantastic run of musical quality by anyone’s standards, and it just seems that in this musical world today there aren’t enough musicians out there willing to take the risks that Colosseum did, and make this kind of music.
If you are looking for real progressive music and not just prog, then this is for you. This is musicians flying by the seats of their pants, doing it because they could and working their arses off touring it and playing it, working on the old adage if we make it they will come.
Now whilst these were the only studio albums, prior to them splitting they did release one live album, the imaginatively titled ‘Colosseum Live’ was released in 1971, and remastered and expanded back in 2016 on Esoteric, but I thought it worth revisiting it here as part of the bands original story.
This is the classic ‘Daughter of Time’ Colosseum line up of Hiseman, Greenslade, Heckstall-Smith, Clempson, Farlowe and Clarke, and whilst they are imaginative on record, live they had to adapt as they didn’t have the brass and string section from the studio. But as all great bands prove live is where there power came to the fore, and this is a double disc expanded set of the legendary double album from 1971.
The original album contained only a couple of tracks that had been on the studio recordings, with material like Rope Ladder to the Moon and Lost Angeles only being available on the American ‘Grass is Always Greener’, and Walking in the Park kicking off their debut album.
Here, the 6 piece band were at the peak of the powers, and this set reaffirmed their skill and power, as they adeptly worked their way through a collection of classic live tracks like Skellington and Tanglewood ’63 and the musicianship throughout is superb, as Hiseman’s drums and Clarke’s bass anchor the sound, allowing Greenslade’s organ and Heckstall-Smith’s sax free range whilst Clempson’s guitar work is superb and, as you would expect, Chris Farlowe is never less than magnificent. Originally released on two LP’s the original live album is now on disc one of the set. Meanwhile it’s on the second disc of additional live material recorded at the same time that we get a full live version of their Valentyne Suite, which is worth the price of admission alone, the ambitious musical works getting an amazing live rendition, which not only does the original work justice, but adds so much to it, as any live performance honed over the years really perfects the track.
I see with bands like Colosseum the studio works being the starting point, and it’s only as the band work and perform and improvise and hone the music night after night, do you get the finished product (well at that particular gig anyway) as the music grows and evolves, and listening to this album you see how far the band have travelled in such a short space of time, before they splintered and continued on solo or other group journeys, where they took the Colosseum ethos and spread it even further across the genres.
This was a highly regarded live album from a potent live band who managed to straddle a multitude of genres and create something genuinely new when they arrived on the scene, and with the bonus tracks it just reminds us of what an innovative and powerful band Colosseum were.
