Category: Album Reviews

Review – Glass Hammer – Untold Tales – by Progradar

There’s are some bands that have been with me since I first started really getting into progressive rock music and have stood the test of time because I like their music and how they have developed over the years. However, because I am what is classed as a relatively ‘late adopter’ to the genre it also means that there is a fair amount of back catalogue stuff and undiscovered gems that I have never heard.

When a band releases an album of ‘Previously unreleased tracks and more..’ it often only appeals to the completists among the fanbase and doesn’t tend to draw in new listeners or fans who have only started to like the artists later in their career. So, what would Glass Hammer’s ‘Untold Tales’ give us, I wonder? Starting with songs from 1993 and concluding with a live recording from 2017, it promised to be something a bit different from the usual archive offerings.

Comprising of 13 tracks in total, including instrumentals and the aforementioned live track, ‘Untold Tales’ offers the listener a sizeable chunk of never heard before Glass Hammer music. It opens with a couple of interesting instrumentals, Shadows Of The Past reworked in 2008, Fred Schendel reworking the opening track off ‘Journey Of The Dunadan’ using techniques unavailable on first release in 1993 and it has a suitable cinematic soundscape to its orchestral magnificence. Infusion is a piece of music originally released on the album ‘Love Changes – Featuring Glass Hammer’ by artist Tracy Cloud. There’s a pared back, ethereal wonder to the three minute instrumental with its haunting piano, flute and keyboards and stylish bass playing.

The heady Identity Principle is one of the standout tracks on the album and is pure Glass Hammer. Steve Babb literally found this song hiding on a backup drive. The band  were never quite satisfied with the mix on the ending. They recorded a new performance of the ending which matches up very well. Thus, this track was recorded in the early 90’s and just a while ago. A wonderfully involving track with great vocals from Walter Moore and an elegant guitar combining really well. It has that great Glass Hammer trait of taking you on a complex and involving musical journey, one that always holds you attention. The melodies entwine and the guitar takes on its own vocal note, to me this is one of THE great tracks from this enduring band and, as Steve himself says, it’s a crying shame it has lain hidden for so long. Glass Hammer appeared at Progscape ‘96 in Baltimore, Maryland and performed the classic Argent track Hold Your Head High. This studio version was certainly recorded around that time, probably in 1997 and is quite a bombastic version for a band noted for their Elfin lyrics and music. Steve’s bass is driving and dynamic and Fred seems to be having ball on the keyboards, add the stylish guitar of David Carter to a powerful vocal from Walter and you’ve got a rather excellent cover version.

I have to be honest, there are a couple of what I’d call ‘throwaway’ tracks on the record and we get both in quick succession. Actually they aren’t bad tracks but, compared to the prog-fest that’s going on around them, they do seem a little lacklustre. Babb’s Bach is Steve’s humble attempt to achieve something similar to tracks from ‘Switched On Bach’ by Walter Carlos and just feels throwaway. It is immediately followed by And Then She Sighed which feels like a pastiche of any medieval tune, admittedly with excellent vocals from Laura Lindstrom Davis and a Girls Choir of Allison Savard, Kaytie Mitchell and Kendra Roden. You are brought out of any stupor by the excellent 80’s synth-rock of Eiger Dreams, a charismatic and compelling track that bears comparison to Giorgio Moroder in my humble opinion. If you have seen the band’s ‘Live At The Tivoli’ DVD then you may recall this is the opening track. Included here is the never-before-released studio version recorded (or at least mixed) in 2008.

Now onto another favourite on the album,the band’s cover of the Beatles track It’s All Too Much is great slice of prog-rock infused AOR music that has you rocking in your seat with its energy, dynamism and hooks. Steve’s funky bass drives the track along, aided by swathes of Fred’s potent keyboards and the familiar vocals of the classy Susie Bogdanowicz. With a nod to a Steve Hillage’s version, the song was recorded during sessions for ‘Three Cheers For The Broken Hearted’ in 2009. It was used as an encore piece for a few live shows, but never released. Here Steve and Fred replaced a pipe organ with a Hammond organ and the bass line with something a little more fitting than Steve had originally done. A track that I can only really describe as ‘Glass Hammer do Sabbath’, Troll is dark and deliciously dangerous. Steve describes it as:

“Partly about recording a track with a super-fuzzed-out bass guitar. It was also partly about letting off some steam regarding the trolls who inhabited certain progressive rock internet forums…”

It features some incredibly angry guitar and keyboard playing and some amazing harmonica from Tim Starnes and is as far away from a typical Glass Hammer track as you could possibly get, I love it! Steve’s final words on the song:

“We have discussed recording more music in this vein, if only we thought our fans would let us get away with it!”

A Grain Of Sand brings you back down to earthy with its airy and laid back simplicity. Three minutes of delicate piano and Kamran Alan Shikoh’s graceful acoustic guitar layered with the minimalist hues of Fred’s keyboards. Recorded in 2010 as a possible track for ‘IF’, you can certainly hear strains of If The Stars if you are paying attention. Jon Davison’s vocal track was lifted straight from that song as a matter of fact. The next song is another powerful and dominant piece of progressive rock. Cool Air is an enigmatic and serious track which seems to have some real tension bubbling underneath. Steve explains:

“Ever the Lovecraft fan, I readily agreed to work on this track for its ultimate inclusion on a Colossus (Finland) Lovecraft-themed album. We chose the tale Cool Air, one of the more gruesome stories and one I thought we might easily set to music and lyric. Recorded in 2012, my son, who was only ten at the time, joined me in the studio for a sound effects session. Fred wrote the music and I wrote the lyrics, with much help from the original text of the story, of course!”

I wasn’t a big fan of the vocals when I first heard it but repeated listens have shown me that they fit this dark and eerie tale perfectly. Disturbing and sinister in parts, it creeps under your skin and becomes quite addictive, like a horror film that you can’t take your eyes off. Doctor Who for the more cerebral of us perhaps?

The Impulsive Type is a more straightforward rock infused track and reminds me of Frost* or even Rush with it’s catchy chorus, edgy, staccato guitars, stylish rhythm section and Carl Groves polished vocal performance. Was that Rush I said? well Steve explains all:

“In 2014 Dave Kerzner of Sonic Reality asked us to perform a track with Neal Peart. What’s that you say? Well, actually it was a request to write a song on top of Neal’s drum tracks that were recorded during the making of Sonic Reality’s “Neal Peart Drums” sample library. The tracks you hear are live drum tracks however, not the samples. Was it possible to write a song over Neal’s tracks without it sounding Rush-influenced? No. Enjoy!”

The album closes with a fantastic live rendition of No Mans Land (from the 2016 album ‘Valkyrie’) recorded at The Camp House in May 2017.  A fan favourite from its first release, it is utterly involving and enthralling as a live track and finishes this stellar collection on quite a high.

Another archive release for those completist fans then? Absolutely not!! ‘Untold Tales’ is an excellent collection of rarities that has lots of appeal, both to the dedicated Glass Hammer fan and those new to this exceptional outfit, a group of musicians who are definitely one of the best progressive rock bands around today.

Released 20th October 2017

Buy ‘Untold Tales’ direct from Glass Hammer’s website here

 

 

Review – starfish64 – An Altered State Of Joy – by James R. Turner

Martin dropped me an email, as is his wont, and asked me to have a listen to these guys and see what I thought. Instead of the massive introduction that I wrote and then deleted, I am going to go straight in, after all, this is about the band and not me, and at the end of the day all you want to know is what this sounds like and did I enjoy it?

Starfish64 is the musical project of German guitarist and vocalist Dieter Hoffman, who has been working with a musical collective since 2006 as Starfish64, and this is the band’s second full-length album. The collaboration has been fleshed out by Henrik Kropp on drums and Dominik Suhl on guitars and keyboards.

It snuck out towards the end of last year, and whilst the name and music is new to me, I will never say no to listening to something different and original.

There’s only 4 tracks on here, and musically this is very much at the melodic end of the music scene, reminiscent of the more chilled out parts of Gilmour era-Floyd, south coast Americana, ‘Summer Teeth’ era Wilco and if you’d like a more contemporary comparison, they occupy the same song focused area that Fractal Mirror sit in.

Here the album is all about the song, and the melodies, so if you’re expecting chaotic time signatures, prog metal, or something that sounded like it was recorded by Yes or Genesis back in 1974 then you’re in the wrong place.

If you’re looking for a more contemplative, chilled out, mellow vibe man, then this is the journey for you.

I have spent the past few days immersing myself in this album on my commute to work through the cold winter mornings, and it feels like a perfect autumnal album, one to be listened to inside the pub, with a roaring fire, a leather armchair and nice glass of something alcoholic and relaxing.

The opener is the longest track on the album, and is nearly the title track, Altered States ebbs and flows with some sublime guitar moments, musical breaks and Dieters impassioned vocals that bring the whole piece together, his warm vocals have a hint of Mike Scott (from the Waterboys) about them, and they match the music perfectly, and even though it’s a 20 minute plus piece with great musical peaks as it pulses and flows, the greatest knack is that it doesn’t feel like you’ve listened to 23 minutes of music, you feel like that no sooner has it started then it’s stopped, and listening on headphones, phone away, really immerses you in the music.

The album continues a pace with the brilliant and beguiling The Black Dot, with some suitably wistful and mournful trumpet from Christian Wahl, and the brass adds so much to the track, (I’m a Yorkshireman, the sound of brass stirs something primeval in our hearts) and the beautifully reflective and ominous lyrics about the mysterious ‘Black Dot’, I think its about one subject, but I’ll let you make up your mind, and it builds and finishes with a superb ending arranged by collaborator Jan Thiede (guitars/flutes).

So Is Life, with it’s wistful feel, pulls a Beautiful South trick of a melodically haunting track, with some fantastic keyboard work, and dark lyrics, that have more of an impact tied to a melodic tune, this is again a sign of the bands fantastic craft.

The closing track Dusk, with it’s melancholic feel, it’s 70’s style synth sounds and laid back guitar vibes is one of those brilliant happy/sad songs, you can feel the mournful regret seeping through the lyrics, whilst the music is uplifting and soars with a sublime beauty. This simple, but potent mix encapsulates the feeling of dusk for me, and is one of those songs that have anthemic quality, another blinding solo, and that touch of late 70’s FM rock, mixed with something more as it builds to it’s haunting climax.

This is one of those deceptive albums, one that feels shorter than it should be, and yet gives you a good 40 plus minutes of music, ideal for one side of a C90 tape to listen to, on your way to work. Yet you don’t feel musically short-changed. There is plenty going on here, and like a well written book or TV drama, it reveals more and more of it’s magic as you listen to it.

This is not a revolutionary album, and it’s not meant to be, instead it’s an evolution of intelligent melodic rock, that gives you songs you can sing along too, melodies you can hum, and a feeling of pleasure and emotion that lasts long after the album has finished, and after all, when it comes to evocative albums, who can ask for more than that?

Released 28th October 2016

Buy ‘An Altered State Of Joy’ from bandcamp

 

 

Review – Blue Rose Code – The Water Of Leith – by Progradar

Music never ceases to amaze me with its capacity to delight and its ability to lift you up when you are down and to perfectly fit your mood when you are happy and on top of the world. I know for a fact that my life is so much richer and rewarding because of my love of music.

There are artists, however, who stand out even more for me, musicians whose songwriting talents elevate the songs to another level, able to move you and alter your life with just one note. I have been very lucky to have had some of these very people come into my life and I am a better person for it.

Once again, I have my great friend Iain Sloan to thank for introducing me to the mercurial talents of Blue Rose Code (aka Ross Wilson). Iain contributes pedal steel to several tracks on the new Blue Rose Code album ‘The Water Of Leith’.

A nomad both geographically and musically, Ross writes from the heart eschewing any specific genre and the twelve new songs on ‘The Water Of Leith’, addressing themes of love, loss, travel, home, accepting the past and embracing the future, are painted with colours of folk, jazz, soul and pop; an eclecticism that has become a hallmark of Blue Rose Code and has seen him compared to John Martyn, Van Morrison and Tom Waits.

Underlining the sense of movement and place in Ross’s work and ‘The Water Of Leith’ is rooted in his return to his Scottish homeland. There, he reconnected with the stellar musicians who were to become an integral part of the new album’s sound: multi award-winning singer Julie Fowlis, celebrated Gaelic singer Kathleen MacInnes, BBC Folk Award Winner, Ross Ainslie, 2017’s Scottish Jazz Awards’ instrumentalist of the year Konrad Wiszniewski, leading violinist Seonaid Aitken and three of Scotland’s finest jazz musicians; John Lowrie, Colin Steele and James Lindsay, to name just some of the contributors. Grammy-winning American singer-songwriter Beth Nielsen Chapman features on the opening track. Ross co-produced the album with Angus Lyon.

(Image by Mark Archibald)

Music at its most simplistic has the power to move you and the twelve tracks on ‘The Water Of Leith’, despite being simple and charming, generate such a wide range of emotions. The incredibly tender Over The Fields (For John) is a touching tribute to Ross’ friend John Wetton (of Asia fame and more) who died earlier this year. Sparse instrumentation and the incredibly emotive vocals have a bleak and yet uplifting feel to them. There’s a sadness that is lifted by fond, nostalgic memories and I challenge you to not be wiping a tear from your eye when it comes to its gentle close. Bluebell has an upbeat, soulful vibe, Ross’s vocal has warmth and compassion at its core and Konrad Wiszniewski’s sax and Iain’s pedal steel add a touch of culture to this sophisticated piece of music. Wistful memories float along with the lilting tone of the music and draw you into its sincere embrace. Toe-tapping, feelgood music is at the heart of the wonderful Ebb & Flow with its great harmonies and superb brass, just under three-minutes of music that leaves you in a much better place than before it arrived. The Gaelic tinged hues of Passing Places is haunting in its brevity and beauty. Kathleen MacInnes mesmerising vocals are accompanied perfectly by the childlike innocence of the violin of Seonaid Aitken and Angus Lyon’s accordion with the mournful tone of Wild Lyle Watt’s acoustic guitar adding the final folk-infused touches.

The music segues straight into Sandaig where the sparseness is fleshed out with Ross’ stirring vocal. A song straight from the heart, this peaceful spot was immortalised as Camusfearna in ‘Ring of Bright Water’ – the famous book by Gavin Maxwell telling of his life with his pet otters at this lonely spot. Ross imbues the song with love and affection and a kind of longing and with Kathleen adding her distinctive vocals, it’s charm and beauty hypnotise you from the first note. A touching song full of jazz imbued soul, Nashville Blue has a real feel of the roaring 20’s about it. Its passionate feel and elegance cut right through you and the vocal performance is stirring and just a little sad. The incredible playing of all the musicians comes through to give a stellar, if slightly sombre, performance. A perfect slice of modern Scottish folk, On The Hill remains A Heart is a serious piece of music that has you enveloped in tte story, imagining yourself on a windswept hill as a certain part of your life’s journey comes to a melancholy close. The vocals have a more hushed and sincere tone to them and end the song with a thoughtful atmosphere, increased by the superb violin and cello. An open letter to the world that getting basics right is where we should start, Love Is… touches you right in your heart with its poignant vocals and bluegrass inspired music with Seonaid Aitken’s wondrous violin leading the way. A tenderly wistful song with a compassionate belief at its core.

Polaris is one of those delightful songs that you just keep returning to again and again and show that Ross is a modern singer/songwriter of huge talent. The tender yet powerful vocals are key here and bring an uplifting emotion to the chorus. A compelling piece of music that you can lose yourself in and forget about the worries of everyday life. Innovative and inventive, like a cross between free from jazz and traditional folk, The Water is nine minutes of utterly captivating music, an involving soundscape on which John Lowrie’s wandering piano and Colin Steele’s original trumpet playing are joined by the adroitness of James Lindsay’s double bass to lead you on a spiritual musical journey into your own psyche and everyone’s journey will be different.  You stop and listen to every note and every nuance and each playing reveals more of this incredible track. There’s no let up to the brilliance as the haunting delta blues and jazz-tinged hues of To The Shore work their way into your mind. A darkly meaningful song that seems to glide effortlessly into the room with a knowing aura, Ross’ vocal has the requisite husky tones to leave you imagining yourself in a dimly lit jazz club in the American depression. The musicianship is staggeringly good, turn the lights down, open a glass of something strong and red and just lose yourself in the wonderfully enigmatic music. The album closes out with the wistfully plaintive Child. Another sublimely simple song that touches the heartstrings with its affection and love. The piano of John Lowrie is the perfect accompaniment to Ross’ heartwarming vocal and the sax adds its stirring tribute and, as the track comes to its uncomplicated close, I just find myself smiling and at one with myself.

In the dark and complicated world that we live in we all need something to escape to, something that makes our lives better and richer and, for me and many others, it is music that has the capacity to do that. ‘The Water Of Leith’ is a poignant, moving collection of songs that have come straight from the heart of one of the best songwriters of this or any generation. Ross Wilson and Blue Rose Code have given us a definitive piece of music that will last the test of time and we would all be happier having it in our lives.

Released 27th October 2017

Buy the CD from Navigator Records

Buy the limited edition vinyl from bandcamp

 

Review – Nordic Giants – Amplify Human Vibration by Kevin Thompson

There have been many claims from people saying they have discovered our sixth sense and what it is.

For me it’s the sense of wonder.

From the moment I was old enough to remember, I have been imbued with this sense, from the warmth of the sun on your face on a hot day, to the light reflecting on rippling water. The power of nature in all it’s structures, climbing high mountains, cloud formations, waterfalls, all drawing amazement in their natural beauty. Whether it’s exploring caves from which creatures never leave or will ever see the light of day, diving beneath the waters of our seas and oceans to find fantastical beasts or simply observing the colours on a butterfly’s wings, I will never cease to wonder.

If it could be given a chemical symbol on the periodic scale it would probably show as ‘Awe’ and a combination of all the elements from Alkali Metals to Noble Gases, with all the others in between.

Age does not wither this sense, in fact as I reach a more mature age I feel an intensification of the sensations, a heightening of the sensory perceptions. Man’s own achievements leaving you breathless at the daring bravery of such as astronauts and those who risk everything for the sake of others.

Perhaps that is why music holds such fascination and plays such a huge part in my life as it tries to encompass all that wonder and project it through instrumentation.

(Picture by Neal Grundy)

Nordic Giants formed in 2010 and are described as an instrumental post-rock duo and despite their misleading names I am led to believe they are from Brighton, and it’s said  they include prominent cinematic aspects into the performances and videos. I find it difficult to come up with an explanation that fully captures the essence that is this duo but will do my best. Dressed in masks and feathers, duo Loki (Keys, Synth,Trumpet & Loops) and Rôka (Cymbals & Skins, Bowed Guitar, Samples) combine award-winning film footage and speeches with piano, bowed guitar, drums and brass alongside smoke/strobe effects and, when playing live, they create engulfing, emotional experiences of wondrous art.

Latest album ‘Amplify Human Vibration’ is a soundtrack, they say, to a documentary that explores the kindness of humanity, aiming to decipher what drives these people as a thought-provoking exploration into the human spirit. Consisting of seven tracks this is an ambitious and audacious attempt to push their music further.

The Taxonomy of Illusions is a speech given by Terence McKenna at UC Berkeley in 1993 and forms the basis around which the Giants build the first track with the similar title. Piano led, featuring some great percussion from Rôka and Trumpet from Loki, this is a powerful track that has the ability to conjure up the images of McKenna giving his speech as they seek to use the music to describe what he is saying. Thoughtful and uplifting it sets us on course for track 2 and informs us of what’s to come.

There is no speech on First Light Of Dawn, it doesn’t need it as once again it paints a picture in the mind’s eye, this one of the sun creeping over the horizon to waken the day. It’s exquisite and I have promised myself, that one day I am going to sit and watch the sunrise listening to this hauntingly beautiful track, the equivalent of watching Turner paint the sunrise.

One of the greatest men to walk this planet as an inspiration was Martin Luther King Jr. His compassion for his fellow men and women and his tireless efforts in trying to seek justice against untruths in a hope that all mankind could live as one knows few equals. ‘Beyond Vietnam’ is a speech delivered by him, on April 4, 1967, at a meeting of Clergy and Laity Concerned at Riverside Church in New York City. It is from this speech that Loki and Rôka draw inspiration for the third track of the album, with with a wave of bowed guitar lifting the Spirit  and joined once again by haunting piano. You can’t really listen to this without feeling a profound effect on yourself, a reviewer’s words sometimes seem insufficient and it is often best with this music to listen as it forms it’s own description in your mind.

Featuring the allure of guest vocals from Frejya floating through your consciousness, Rewake allies itself with “The Mystery of Change” which is a motivational speech by Alan Watts, a renowned British-born philosopher, writer, speaker and theologist. Having for a time been an Episcopal priest he eventually joined the faculty of the American Academy of Asian Studies, in California. Piano chords and percussive structures accentuate angelic singing, as Watts strives to spiritually inspire.

‘We are power’ is a speech given by John Trudell at the Survival Gathering in the Black Hills of South Dakota on July 18th, 1980. The speech talks of ourselves in terms of power, that we are energy and an extension of the Earth and should not abuse it. As Immortal Elements the music poetically illustrates the words and the speech returns the compliment.

Sat in the church of instrumentation, resting on the pews of chords and bars, we can embrace the blissful notes from the organ playing sweetly on Autonomous, the final track that will guide us into the light of understanding on a wave of musical euphoria. With bubbling energy the sound grows to a rousing, magnificent climax leaving us with a palatable silence of contentment.

Some people may find the speeches detract from the music on ‘Amplify Human Vibration’ but for me there is a symbiosis ’twixt the two and I feel neither would be better served without the other. Taken in isolation the album is a wonderful collection of instrumentals which when combined with the newly proposed stage performance for the upcoming tour could create a Force Majeure. But don’t just take my word for it, I am already a convert, listen for yourself and make up your own mind.

Released 20th October 2017

Buy ‘Amplify Human Vibration’ direct from the band

 

 

Review – Findlay Napier – Glasgow – by Progradar

Music and singing has been used to tell stories for hundreds, if not thousands, of years. Those ancient troubadours spread the news of mighty deeds and wars won or lost, crossing mighty oceans and huge deserts to spread the word to the far corners of the earth.

Thankfully for today’s balladeers and poets, the digital age and the internet means their tales of escapism or gritty realism can be on anyone’s hard-drive in seconds and they don’t have to use donkeys and ancient ships to reach their audiences.

Folk music has always been at the core of telling the stories of the man on the street, the fisherman, the steelworker and folk singers have never hidden the darker side of these stories, tales that on-one else would tell, leaving audiences hooked on every word.

My good friend, the excellent musician Iain Sloan introduced me to the music of Scottish folk singer Findlay Napier last year and I still thank him for bringing this brilliant artist to my attention. This October sees the release of Findlay’s ode to his home town Glasgow and a collection of cleverly observed and written songs that reveal his love affair with this most gritty of cities.

There’s no need for fanfare or overindulgence on this album, Findlay’s vocals and guitar are joined on this emotional journey by long time collaborator Boo Hewerdine (high strung guitar, piano) and the delicate voice of Donna Maciocia on backing vocals.

‘Glasgow’ is a whimsical collection of songs from a musician with a quick wit and a ready eye. Findlay has lived in Glasgow for twenty-one years, having been born there originally, and his intimate knowledge shines through.

” I remember the people and their patter. I remember it like the first time I watched Blade Runner. I remember it like the first time I saw Billy Connolly.

Mostly I witnessed Glasgow from afar. On the telly it was a place full of humour: Francie & Josie, Naked Video and Rab C. Nesbitt. Taggart, bookended with Maggie Bell’s ‘No Mean City, was Glasgow’s darker side.”

The delicate guitar and subtle vocals that form Young Goths In The Necropolis are used to give Findlay’s view of the Necropolis and its magnificent views to the west and the daily happenings a nostalgic hue. There’s nothing glamorous about life at the bottom in any cities and the dark humour of Wire Burners tells the tale of how the homeless in Glasgow sell scrap metal from building sites just to stay alive. Findlay’s vocals have a way of keeping you concentrated on the story and taking in every word to build a picture up in your mind. Marchtown (written by Emma Pollock) is an area that Findlay walks through every day and this sentimental song takes you along on that daily journey. It’s a wonderfully romantic song that is touched by more than a hint of melancholy as it looks at the changes that have happened to an area that has hundreds of years of history at its heart. The perfectly judged backing vocals are a particular delight.

The wonderful St Anthony’s Digging a hole is a tribute to the gravediggers of the West of Scotland and is based on a Radio 4 documentary about these essential workers called ‘How To Dig A Grave’ by Cathy Fitzgerald. A beautifully wistful piece of music, it shows how Findlay can take a sombre subject and turn it into such an exquisite piece of music. St Anthony is the patron saint of gravediggers. On Julia Doogan’s wonderfully written and evocative track Glasgow Findlay’s elegant vocal paints a colourful picture of the heart of a City that lives its life around two great football teams and always makes him think of the Old Firm games when he hears it and the busy nights around the city’s many drinking establishments. A vivid and intense folk standard Cod Liver Oil And The Orange Juice, Findlay’s voice uses the guttural dialect perfectly to paint a gaudy picture on a wonderfully raucous pared-back track that just leaves me smiling all the way through. I actually laughed out loud at some of the lines,

“Then oot came her mammy – she was goin’ tae the cludgie, Oh-ho, I buggered of sharpish, Ah-ha, glory hallelujah, Cod liver oil and the orange juice..”

Findlay gives his take on the Blue Nile track A Walk Across The Rooftops, a song that always reminds him of days hanging out between the City Centre and the West End, barbecues, carry outs and late night sing songs in tenement flats. His tender vocal and the elegant guitar reminisce about sepia tinged times between receiving his final exam results and graduating.  There’s a hushed atmosphere about the track, a time when you felt on top of the world, unbreakable even. Never quite a protest song, There’s More To Building Ships is a poignant song that Findlay was moved to write after a conversation about reopening Scotland’s shipyards with his Dad. There’s a bitter sentiment tot he vocals, one that’s echoed by the solemn guitar. A wonderfully written piece of music that sees it as an ultimately futile endeavour, without a long term plan, there’ll never be industry like that again in Glasgow. A whimsical and quirky song, The Locarno, Sauchie Hall Street 1928 is a story about the first Scottish Professional Dancing Championships held in 1928 and won by Alex Warren and Cecilia Bristow. An unhurried, sentimental track, Findlay and Donna’s vocals give it a real warmth and affection along with a maudlin nostalgia.

King Kong’s Visit To Glasgow, written by ‘The Bard of Dundee’, Michael Marra, is about a dream that actress Caroline Paterson had. Her many vivid dreams were recounted to Marra when they were working on a show together at Dundee rep. A chilled, jazzy guitar and Findlay’s bright and breezy vocal give an upbeat feeling to this subtle and engaging song, a track with a real playfulness to it. The surreal lyrics about King Kong wanting to mend his ways and visiting Glasgow are quite genius and Findlay gives it a real engaging air. The final track is about unrequited love in a Glasgow chip shop (yes, really…) and The Blue Lagoon has an air of 30’s music hall to it with Findlay’s tender vocal and the haunting piano of Boo Hewerdine. Once again Donna Maciocia’s graceful backing vocals add anther layer of class to a superbly expressive song.

Some of the best folk music is coming out of Scotland right now. ‘Glasgow’ is a fantastic collection of sentimental and evocative songs imbued with a simple but engaging honesty because, after all, music is storytelling and here Findlay is telling the grandest story of his life.

Album cover and Glasgow street scene by Raymond Depardon, Magnum Photography.

All other photos by Richard Crawford, Precious Productions.

Released 13th October 2017

Buy ‘Glasgow’ direct from bandcamp

 

 

 

 

 

Review – Thumpermonkey – Electricity – by James R Turner

Festivals, there’s no better way to get out the house for a day or two, or even longer, than spend time at one of the may prog festivals that happen across the country and tend to cater for most tastes.

The beauty of the festival is that it’s the live equivalent of the ‘sampler’ CD’s that are glued to the front of magazines, the chances are you’ve heard one or two of the bands, or the draw is a band you want to see live.

I can also guarantee (unless you can afford to go to every festival/gig/showcase out there, which sadly I can’t) that you’ll see names on the list that you have never heard of before.

Those are my favourite types of acts at festivals, because it’s a blank canvas, a total step into the unknown, and my definition as to how good a band is at a festival or support act used to be, have I walked away shelling out my festival spends on the bands back catalogue?

I’m sure there’s plenty of you out there who know exactly what I mean, and we end up with shelves full of CD’s from bands who we saw live but don’t quite dissect the Colmans when it comes to the record, so I updated my definition, as to are they someone who I would listen to again and again at home?

This is how I got introduced to Thumpermonkey, there I was back in Bristol in 2014 after the end of a marriage, in a one bed flat in Bedminster with a rare Saturday off in the next few days, and I spotted that Ian Fairholm’s Eppyfest was on in Stroud at the weekend. Henry Fool and The Fierce and the Dead were the draw bands for me, as I’d never seen Henry Fool, and I loved TFATD in Camden, so this was a great way for me to spend an afternoon. So I ordered my ticket, drove the scant 30 odd miles to Stroud, met Mike and Julie Kershaw and Brian Watson for the first time and renewed my acquaintance with Mike Whitfield, an old regular from my CRS days, to settleback for an afternoon/evening of great music.

Laura Kidd (She Makes War) had recommended Thumpermonkey to me, and I quote ‘They are da bomb’ and as Laura has superb musical taste, you don’t dismiss one of her recommendations.

She was right, they were ‘da bomb’ and I left exhilarated after an exciting and eclectic set clutching both their albums in my grubby palms, and they got listened to on the journey back (and on a regular basis here at Turner towers).

(Photo by Simon Kallas for Chaos Theory)

Released on 13th October on physical and download, ‘Electricity’ is the first release of new music from the band since ‘Sleep Furiously’ in 2012, and is packing more ideas in it’s 20 minutes of music than some bands get in a lifetime.

According to bandcamp this is a concept album around the story of human misadventure from Victorian MP Lord James Badger, who went to conquer the civilisations of Mesopotamia using electricity and covers the whole gamut of human foolishness.

I will start by saying that Thumpermonkey are never going to be everyone’s mug of Darjeeling, as there are some out there who prefer the mass produced generic sounds that lots of bands who get thrown into the ‘prog’ label produce, the aural equivalent of a Big Mac or Burger King that gives you a quick fix, but will never satiate your appetite, think of Thumpermonkey as your favourite secret restaurant, where you go but don’t want to tell anyone else about it case it becomes too popular too soon.

I will go have a sandwich, as I’m obviously hungry judging by all the food analogies going on above.

If like me you prefer your music to get you thinking, have some originality to it, a lot of quirk, strangeness and charm, then Thumpermonkey are your boys. If you want a crude idea as to where they fit into this crazy musical Pandora’s box of prog then, their EP launch party saw them supported by The Fierce and the Dead and Ham Legion.

The fact that they are only a four piece surprises me, as the sound that they make, and their intrinsic musical dexterity, always makes me think there’s more of them, this is as obvious live as it is on record.

The mix of musicianship and technicality is split beautifully here across the four tracks and it’s a pleasure to listen to.

The EP starts with Garmonbozia, which starts with some wonderful guitar work and vocals that build and build, as the music kicks it, with the vocals producing an excellent counter harmony, as Michael Woodman accompanies himself, his vocals and guitar work almost working against each other, producing a complex sounds that draws you in, and condenses the Thumpermonkey sound into a bite sized single.

This also shows another facet to their songwriting and performance, with the emphasis being fully on the song, and all intricate tricks and quirks that set them apart from the crowd are now part and parcel of their musical bag, giving them a stronger and more musical edge.

Tzizimime has some fantastically jaggy guitar riffs, and the beauty of the band as musically adept as this is that keyboard player Rael Jones is also a superb guitarist and their twin guitar effect is superb, like Wishbone Ash if they ever went into free form improvisation of the King Crimson stylee.

This is not a Fire is as different again, there is plenty of emphasis on guitar work here, the drum and bass of Sam Warren and Ben Wren provide the bedrock for the Thumpermonkey town of sound to be built upon, and throughout all this Woodman’s vocals (again something that polarises listeners) impress. Personally I think they are fantastic, and his range is superb, hitting both the higher and lower notes, and utilising his voice as a 6th instrument. Building the songs as much around the vocal lines as the riffs, and then setting them off against each other.

Woodscrivened see’s Rael’s keys to the fore, with some delicate and sublime piano work kicks off the final part of this quartet, rounding off the ‘Electricity’ story, one of those great concept pieces that are fitted together from disparate influences, as the guitars and full band kick in, and the vocal talents of Woodman again show their power.

Thumpermonkey live in top gear are a sight to behold, and here on this 20 minute EP you get a taster of them, they have successfully managed not to tame their live tiger, and instead let it roar throughout these tracks, managing to pull back when needed, and unleash their full power in controlled measured bursts, this is no mean feat, and it bodes very well indeed for the album due next year.

If you get the chance to see them live do so, they do not disappoint, and whilst we’re waiting for the new album, this EP is as perfect ‘tease’ as possible, whilst being a fully rounded piece of work.

To misquote Laura Kidd, ‘Thumpermonkey are still da bomb!’

Released 13th October 2017

Buy the ‘Electricity’ EP from bandcamp

 

 

Review – Gandalf’s Fist – A Day In The Life Of A Universal Wanderer (Special Edition) – by Progradar

‘Cuprinol – It Does Exactly What It Says On The Tin’ – a now well known advertising slogan that can be equally as pertinent in real life. Describing how something doesn’t have to be complicated to work perfectly well and does the job that it was intended to.

This could be as equally a relevant term when it comes to music too. If you want a band that plays a particular type of music exceedingly well without over-complicating things then there will always be one that fits the bill.

If you’re want at ‘Medieval Space Rock’ (well, we all do at some point in our lives) then you need look no further than ‘your favourite time-travelling prog-warlocks’ (their words, not mine!) Gandalf’s Fist and their brand of Prog, Folk and Rock to get what you need.

This year has seen the band embark on a through revamp of 2013’s space-rock offering ‘A Day In The Life Of A universal Wanderer’.

The expanded album has been fully remixed and remastered from the ground up, utilizing new performance takes and bringing the release firmly in line with the sonic palette of 2014’s “A Forest of Fey” and 2016’s “The Clockwork Fable”.

The record also features new and re-recorded narrative tracks from British Actor Mark Benton, who had previously worked with the band on last year’s Triple-CD album release.

Completing the package is the brand new, exclusive track The Stowaway and the Endless Night, an 11 minute opus originally omitted from the original release, as well as brand new cover art commissioned from German artist Thomas Huth, the man reasonable for the band’s sleeves on the last two releases.

Gandalf’s Fist front man, Dean Marsh, commented:

“This is the album people seem to have been desperate for us to re-release on CD format and we were reluctant to do so until we could finally do it right and do it justice. This is not a pointless ‘CGI-Yoda’ retrospective tinkering, we’ve retained the main core of what we originally created, but now with a bit more sheen and more energy.  It now works as a cohesive piece. A real thrill for me was to hear the synth violin sections being re-recorded by orchestral musicians, It’s those little touches that have lifted the record to another level. I think we’ve finally got it to a stage where we’re proud to let it sit on the shelf next to our last two albums!”

Not only has the album been fully remixed and remastered, drummer Stefan Hepe has also re-visited and re-recorded the drums and percussion to all tracks and new violin and cello performances have been captured to elevate those songs and you can really tell…

‘The Universal Wanderer’ – who’s legend tells of a figure who has wandered the cosmos from the birth of existence to the end of time…

What Gandalf’s Fist have always been is brilliant storytellers, the duo of Dean Marsh and Luke Severn (now with the added teutonic skills of Stefan) have always been able to weave involving tales and set them to outstanding music and this revamped version of ‘A Day In The Life Of A Universal Wanderer’ is no exception. The opening Another Night On The Far Side Of The Universe sees the ship’s computer (voiced by Alicia Marsh) and the instantly recognisable dulcet tones of Mark Benton as The Captain, set the scene for the universal journey ahead. The Nine Billion Names Of God is a darkly bombastic track with doom-laden vocals and a slow metronomic beat that really gets under your skin. With a sound deeply rooted in early 70’s sci-fi it is eerie and disturbingly atmospheric and the chorus is an unexpected ear-worm that you find yourself singing in the most inappropriate places (like Church for instance!). Add in some ethereal flute, moody saxophone and some great twin-guitar work and you have a great start to the album. The next scene-setting interlude, Where’s A Bloody Escape Pod When You Need One?, segues straight into the powerful opening of Stowaway To The Mushroom Planet before things roll back into some seriously chilled space-rock with delightful female vocals. A serenity falls on the music, only broken by the superb melodramatic chorus, this is rather a fine track which is only enhanced by the excellent guitar solo.

There’s a pleading Message Home delivered in a disconcerting manner and then then wonderful Melissa Hollick arrives to deliver a wonderfully emotive vocal performance on the grandiosely anthemic Somewhere Beyond The Stars. Along with the utterly captivating piano, Melissa’s vocals entrance and captivate to leave you utterly bewitched. It’s as good a piece of music that you will hear this year and always brings a lump to my throat and a moistening to the eyes, just listen to the enchanting guitar playing and you’ll know what I mean! Seriously heavy space-rock infused prog makes an appearance on the mighty Orphans Of The Sky, a lengthy and intricate homage to the 70’s heavy rock acts. A slow-burning verse erupts into the monstrous chorus with no apology and delivers a powerful and compelling performance with the measured riff and dynamic drums adding to the forceful vocals. The spacey, far out guitar that plays across your mind before the track breaks back into the chorus is pure genius.

The alien A Visitation Of The Mushroom People leads the way into the forgotten opus The Stowaway And The Endless Night, omitted from the original 2013 release. A seriously intensive and inventive 11-minutes plus of progressive rock that builds its atmosphere slowly with some rather fine guitar and drums grabbing and holding your attention before a menacing voice over intrudes. All hell breaks lose with a twin guitar riff of monlithic proportions. The song ebbs and flows with some superlative and convoluted music and some excellent vocals, the female voice again supplied by the sublime Melissa Hollick. The band will have their reasons for not including this track on the original release but I do wonder why as I think it is rather good and fits in with the rest of the songs perfectly. Universal Wanderer is a great space-rock track that takes the listener on a wandering journey through space and time in their own mind. The song seems to bubble under for a while with barely suppressed urgency before a superb riff flares up and gives real potency to the hard-rock feel. The guitar sound lends itself to 80’s heavy metal and the whole song just rocks mightily.

There’s a more measured approach with Nexus, a thoughtful song with almost a folk edge to the vocals and guitar. You feel you are involved in something mysterious and perplexing as this pensive track continues. The keyboard and guitar break in the middle of the track really feels like it could be on a Wings album with its high spirited creativity, throw in the moody sax and you have a really mind opening piece of music. Wistful and nostalgic, North of Wall puts breathy vocals and laid back instrumentation to good use to give something almost Celtic in flavour. The voice-over tells an involving tale before the song segues straight into the whimsical brilliance of The Battle for Tannhäuser Gate. Violins, cello and the beauty of the female vocals bring to mind heroic tales sung in medieval times, “I will die in my boots..”, songs sung of great battles and comrades lost and this gives a melancholic atmosphere to everything. There’s also a Celtic influence to the song and it works superbly, the guitar solo fits perfectly into the song and I can imagine myself sat round a roaring fire in a village tavern, seduced by the music and the beauty of the voices. Ghosts of Spacetime sees The Captain bring the whole storyline together and it’s a credit to the vocal talents of Mark Benton that you are left hanging on every prophetic word before the spell is broken by the opening bars of the final track The Wanderer Goes South. Some exquisite flute work gives added gloss and sheen to another great piece of Gandalf’s Fist music. In the background there’s a reprise of the guitar riff and beat from The Nine Billion Names Of God before Melissa’s great vocals begin again. A song of space-rock whimsy that perfectly sums up what has gone on before, the songwriting skills of these excellent musicians are entirely evident as we are led along a twisting path of musical enigma. A brilliant guitar solo and the repeated mantra of ‘Nine Billion Names Of God’ close out the track and leave you smiling with appreciation.

This is a collection of songs that you can lose yourself in and forget the worries that are glaringly evident in our everyday life. Superb musical escapism with a inventive storyline that you’ll keep returning to again and again. Cinematic in feel and scope my next question is, when will you be releasing the sequel?

Released 18th September 2017

Order ‘A Day In The Life Of A Universal Wanderer’ direct from the artist

 

 

Review – CIRCU5 – CIRCU5 – by Progradar

“But, is it Prog?”, it may have started as an innocent question but, boy, has it become the bane of everyone’s existence who is involved in that particular music scene! Why anything actually has to be ‘Prog’ to justify listening to it is quite beyond me but there does seem to be a hardcore group who define their music listening by that mantra.

Let’s face it, that is quite a ridiculous question, what they should be asking is, “but, is it any good?”, don’t limit your listening experience to that one particular area, broaden your horizons and you really will find some excellent music out there.

One such intriguing proposition was put to me earlier this year by respected British multi-instrumentalist Steve Tilling who started talking to me about his solo project CIRCU5, which is a concept album that harnesses hard rock, punk and alternative influences to create its own unique sound.

A concept album? Oh that must be Prog then! Nae, nae and thrice nae, it doesn’t have to be, all it has to be is a bloody good piece of music!

A child raised as a psychopath. Could this be the subject of an album that rocks and intrigues in equal measures? The answer’s a sinister ‘yes’, if a new album called CIRCU5 is anything to go by.

Five years in the making, the debut album features guest performances from Dave Gregory (XTC, Big Big Train), Phil Spalding (Mike Oldfield), Matt Backer (Julian Lennon), Alan van Kleef (Rachel Stamp), Johnny Warman (Peter Gabriel) and Andy Neve (Steve Hackett).

“The album mirrors the ups and downs in my life while making it,” says Steve Tilling. “There were dark times, but everything ended positively. I wanted to make an album that’s fun to listen to but has a good story for those who like to dig deeper.”

Clues to the story are dotted throughout the album, but Steve is happy to give away the essence: “It traces the life of a child raised as a psychopath in a secret government organisation, which aims to cure the condition while harnessing positive traits for certain roles. The character discovers the truth as a dysfunctional adult – with catastrophic consequences.”

Oh, and by the way, it’s pronounced ‘Circa-5’…

It’s a relatively short album, coming in at 49 minutes but Steve certainly packs a lot into that time, the edgy opening track, Coming Home, is punk infused and almost anthemic and really sets the album up perfectly with its delicate guitar and intense but pared back vocal delivery. Keeping you on the edge of your seat ready for the staccato riff of My Degenerate Mind, this is where the touch paper is lit and everything goes off with a bang. Crashing guitars, dynamic drums and Steve’s excellent vocals give you a song that sounds like ska legends The Beat collaborating with The Clash and the end product is just over four minutes off perfectly judged punk infused alternative rock.

There’s been a lot of mention about the Foo Fighters as an influence on this album and Stars takes that influence and runs with it. Heavy riffing, punchy vocals and a superb rhythm section drive this rollercoaster of a track along at full speed ahead. There’s even a touch of Nirvana to the guitar sound and the drums have a nod to Dave Grohl in his days in that band too. Powerful and edgy alternative rock that’s not for the faint hearted. Days Erased is a brief musical interlude with hushed and haunting vocals that add to the tense atmosphere and leave you wondering what’s coming next.

A mournful piano tone introduces Strings, an absorbing song that draws immediate comparison to Radiohead yet Steve stamps his own authority on the track. A graceful acoustic guitar and the wistful vocals bring a feeling of nostalgia to proceedings yet there’s always a sorrowful undertone that leaves a feeling of rejection and loss in your heart as this contemplative piece of music comes to a close. The spirited alternative rock returns with the fiery Blame It On Me, another breakneck track that powers along to a modern punk-rock beat. A funky guitar riff joins some intense drumming to leave you breathless as this runaway train goes merrily on its way. Steve Tilling has a great voice for this sort of music and he leads the song perfectly with his slightly husky vocals, another potent and compelling slice of rock.

The next track is one of my favourites, The Amazing Monstrous Grady is funky hard-rock at its very best and is catchy as hell. A circus organ opens the song, meandering along in no particular direction before petering out and allowing a fine bass line and drums to get things going. The addictive guitar riff and Steve’s excellent vocal all add to the offbeat, fast-paced groove and the chorus is as hook-ridden as they come. Kings X influenced? hmm, I’m not sure, I just think it’s great songwriting. I tell you what though, there’s some superb bass playing on this song and the brilliant instrumental section in the middle of the song needs to be heard to be believed. A track that just about has it all!

The album concludes with the five parts of The Chosen One. Baptism is elegant and sophisticated with acoustic guitar and passionate vocals at its core, singer/songwriter music done perfectly. Transfiguration is bombastic and grandiose with a hyperactive guitar and sonorous bass joining with the commanding drums to deliver a superbly involving instrumental that is one of the more progressive (did I just use that word?) tracks on the album. Crucifixion is a short and yet intense piece of music where Steve’s vocal literally bleeds emotion as he sings over a stirring, pared back guitar. Resurrection is an involving, dynamic and edgy song that demands your attention with its insistent riffing and the demanding tone of the vocals. Dark and potent rock that brooks no argument, its slightly off-kilter feel leaves you on edge and unsure of where to turn next. Everything comes to a close with Ascension, literally the polar opposite to the previous track. Calm and collected and utterly sure of itself, the delicate guitar and graceful vocals lead you to a serene place of tranquility. Simple and elegant, the music washes over you leaving you utterly relaxed and is reminiscent of ethereal, hazy summer days, the album concluding on an uplifting and hopeful note.

Ambition can often be a downfall but Steve Tilling has taken his ambition and given us a musical spectacle that will stand the test of time. Great songwritng combined with superb musicianship and a concept that works, CIRCU5 is a triumph. Is it Prog? I’ve no idea but it’s bloody good!

Released 15th September 2017

Buy CIRCU5 direct from the artist’s website

 

 

 

Review – Comedy of Errors – House Of The Mind – by Progradar

Scottish progressive stalwarts Comedy of Errors followed up 2015’s ‘Spirit’ with new release ‘House Of The Mind’. I was a big fan of ‘Spirit’ so was really looking forward to this latest chapter in their musical history.

I love it when a band just seems to get better and better, maturing with every new record they produce and not treading water, resting on their laurels and past glories. Comedy of Errors follow this mantra perfectly, every time they release a new album it has progressed (see what I did there?) from the previous records and added something more to their varied portfolio.

The new album opens with Tachyon, a song that majors more on the electronic side of music and has a superb beat and melody. The vocals are subtle and subdued and work perfectly with the energy and insistence of the synthesiser and rhythm section with the drums being particularly impressive. it gives a whole nostalgic 80’s feel to the track and is a great opening to the record.

The second, and title, track is the first of two longer tracks on the release. House Of The Mind has everything you’d expect from an epic track, an inventive and evocative introduction sets the scene for a well constructed piece of music that takes the listener on an involving musical journey. The song draws you in with its understated keyboards and measured drums and bass and you find yourself waiting on every note. Again the vocals just add to the atmosphere without having to be the focus of attention. Comedy of Errors have perfected their sound to such a position where you know it is them from the first note, influences are clear but the band make their own statement with great songs like this.

A Moment’s Peace is exactly as it sounds, a song that transports you to a place of calm serenity with an elegant acoustic guitar being the superb focus of what is an utterly ethereal piece of music. Wistful and understated in equal measure, it is an instrumental that you can tell has been lovingly created. There’s a nostalgic, thoughtful atmosphere that pervades every note, it truly is a delightful track.

There’s a troubadour, medieval feel to One Fine Day, a song that, perhaps, does land itself right in the middle of Neo-prog territory and it’s all the better for it. Running at just under three minutes it’s not a long track at all but certainly makes its presence felt with a great piece of guitar work and some grand sounding vocals.

The last new track on the album is the rather extravagant sounding Song Of Wandering Jacomus and is the second ‘epic’ on the album. It’s a fantastic song and one where the band’s exemplary songwriting skills really come to the fore. Epic by name, epic by nature, it gives the music fan everything they need from a track of this nature. The extended introduction is really quite profound and sets the scene perfectly before there’s a lull in proceedings and the tension is ramped up. There’s a fantasy feel to the song, a whimsical, playful lightheartedness that gives it a real feel-good aura. The vocals are refined and the music is sublime and yet, at times, has real substance, especially on the extended guitar break that just leaves you smiling. It’s a track you will return to again and again.

The last track is a re-arranged and recorded version of Ever Be The Prize, the first ever Comedy of Errors recording as a demo in 1985 and it really makes the hairs stand up on the back of your neck as you are transported back to that decade where Neo-prog was born and first flourished. Keyboard heavy with some powerful guitars and a great drum sound, it has dated very well and the new arrangement has given it anew lease of life. It is actually good to able to compare the early song with the latest to see how the band have matured and developed over the years.

‘House Of The Mind’ sees Comedy of Errors on top form once again. A talented set of songwriters and highly accomplished musicians, they infuse every song with verve and flair to give us another superb album that will be on many Best of 2017 lists. I can’t wait to see them live at A Prog Before Christmas in December.

Released 16th June 2017

Buy ‘House Of The Mind’ direct from the band here

 

 

 

Review – Linus Kåse – I – by Progradar

“Simplicity is the ultimate sophistication.”
― Clare Boothe Luce

Progressive music does seem to favour the long form when it comes to song writing, you know the 25-30 minute epics that sometimes seem to go on forever. I’m as guilty as the next man for listening to, and promoting, these types of tracks but they can become interminably boring if overplayed.

Every now and then it is really good and refreshing to have an album full of shorter tracks, even sub four minute ones, where the brevity is at the heart of what makes them good songs.

Swedish prog legends Änglagård are well known for their extended instrumental pieces so it did come as something of a surprise when I heard that band member Linus Kåse was releasing a solo album that concentrated on the art of the song, and short songs at that!

Now I know Linus and he does have a sunny disposition to be fair, I asked him about this solo release and this is what he had to say:

“The album includes a bunch of originals that I wrote and recorded a few years back and I decided to spend the last couple of months to finish it up. I think it’s a fun album, that’s the intention anyway. I believe it is mainly influenced by some of my favorite artists of the 60’s and 70’s pop/rock era so you will find some Beatles, Procol Harum and even Barry Manilow in there. To me the album is a labour of love for sure. If it wasn’t I would never release it to the world.”

Linus plays grand piano, saxophone, keyboards and guitars, provides the vocals and produced and mixed the album, which is no mean feat but he did have some help. Kristofer Eng Radjabi (bass, Guitars) and Daniel Kåse (drums) were heavily involved and there are guest appearances from Lasse Bjurhäll (guitars), Rickard Andrinsson (guitars), Benjamin Quigley (double bass) and Maria Kvist (backing vocals).

Just a few bars into opener Smile and you know you are in for a treat, a Creedence Clearwater Revival influenced track that just screams uplifting, feel good music at you. There’s a carefree attitude to the bouncing melody and to Linus’ sunny vocals. The jangling guitars and clear-cut precision of the rhythm section give a real 60’s/early 70’s atmosphere and you will find yourself smiling, job done methinks! Mary has a beautifully wistful tone to it and a nostalgic, sepia tinged joy at its heart. The song has a real summer of love, hippy feel throughout and is almost hypnotic in its delivery. Linus really does have a great voice and its used to superb effect on this track and you can hear the Manilow influence. There’s a great piano introduction to Winter Season, almost labyrinthian in its five minute length. A more serious overtone is at the core and it sounds like Wings heavily influenced the song. The pared back chorus is a gem and Linus is starting to prove he really is a talented songwriter when he can produce great rock tracks like this.

The singer/songwriter comes to the fore on the lilting piano-led Above The Line, another nod to the mercurial Mr Manilow. Quirky and idiosyncratic, it’s a real delight and a song where you find your head nodding and your foot tapping along to the excellent melody. In fact, you probably will find yourself singing along at the top of the voice, if you’re anything like me that is! A jazzy and funky piece of music, Do You Believe sees Linus’ voice on top form, surrounded by some rather stylish musicians. The organ and piano are the main components but that rhythm section is really proving to be the driving force behind the songs, the drums and bass are classy and polished and give this Supertramp feeling song a real edge. Fast paced and a bit left-field, All That Could Go Wrong is another three minute gem of a track, a catchy piece of music that never outstays its welcome and showcases the art of writing a short track to a tee. It’s almost like planting the early Beatles right in the middle of the 70’s with its combination of snappy chorus, elegant swathes of organ and short but sweet guitar solo.

(Photo by Kenth Wanglev)

The next five tracks all form the E minor suite, Fisherman’s Song is a laid back two minute instrumental with a large nod to the organ sound of Procul Harem. It’s a great piece of music that really gets under your skin, leaving a mark that stays long in the memory, the soaring music is quite inspirational at times. The track segues straight into the wonderful Modern Times which, to my ears, sounds like Linus’ audition to write a new Bond theme! I love its urgent and upbeat drive with the great backing vocals from Maria Kvist. Edgy, funky guitars and a ferocious drum beat dominate proceedings at a break neck speed leaving you breathless in admiration. Another segue into The Boat Is Sinking which is a forty-six second reprise of the melody from Fisherman’s Song. The piano driven brilliance of Egomania is my favourite track on the album and is a fantastic piece of songwriting that is synonymous with Scandinavian songwriters of modern times. If you’ve heard the latest Rikard Sjöblom album then you’ll know what I mean. An upbeat melody along with great lyrics are the heart of the song and Linus’ vocal delivery is, once again, perfect. It’s a piece of songwriting that just makes me smile with its inventiveness. The last part of the E minor suite is Fisherman’s End, a soaring close out that again reprises the earlier melody and finishes everything on a high note.

The album closes out with Linus farewell to the listener, Goodbye For Now. It’s a song that makes you feel you’ve been part of something and it feels like a wonderfully warm goodbye from this excellent musician and songwriter. Those of you who remember Gilbert O’Sullivan will hear him in the vocals. There’s almost an upmarket cabaret feel to the song and I can imagine myself in a great theatre somewhere in the world as Linus closes out his show with this memorable track and you feel a lump in your throat and moisture in your eyes as everything comes to an end.

One of the most surprising and impressive releases of the year and one that will leave a huge smile on your face. Linus Kåse has virtually reinvented the four minute song with this new album and ‘I’ is as impressive a listening experience as anything else you will hear in a long time.  

Buy ‘I’ from Itunes