Album Reviews – Page 82

Review – Witchcraft – Nucleus – by Shawn Dudley

“Meditation is a very slow and painful process. It is indeed the practice of death yet a celebration of life.” – Ronald P. Vincent, 1947

This quote is printed on the inside gatefold of “Nucleus” and is, essentially, the mission statement singer/guitarist/songwriter Magnus Pelander follows for the fifth Witchcraft album. It’s a heavy, hypnotic, trippy musical journey brimming with atmosphere and worship of the almighty guitar riff.

Pelander originally formed Witchcraft solely for the purpose of recording a Pentagram cover for a Bobby Leibling tribute album. That single track immediately caught the attention of Lee Dorian (Cathedral, Napalm Death) who signed them to his label Rise Above and whisked them off to record their debut full-length album.

That eponymous release, recorded in analog in a basement studio using only vintage gear was a glorious concoction. Sounding more like a long-lost album from 1972 than a current album from 2004 it captured my imagination immediately.

It sounded authentic; the songwriting having just the right flavor for that musical era and unlike many retro groups that pick a single point of influence it was obvious that Pelander had a wide and varied appreciation for music from the late 60s and early 70s.

They would record two more fine albums using the same analog template; “Firewood” from 2005 and the very proggy “The Alchemist” from 2007; both highly recommended. Then the band went dormant for 5 years, reappearing with “Legend” in 2012 with only Pelander and bassist Ola Henriksson remaining from the earlier lineup.

“Legend” was a departure from their prior albums as the vintage approach was dropped in favor of a very modern, punchy sound. In addition Magnus decided to put down the guitar to concentrate solely on vocals and hired a dual-guitar tandem. It was a very good album, but personally seemed to be lacking some of the atmosphere of the earlier Witchcraft releases and Magnus’ guitar playing was sorely missed.

Thankfully he decided to pick up the guitar again and has reconfigured Witchcraft as a power trio for the first time in their career with new members T. Anger (bass) and Rage Widerberg (drums) holding down the rhythm section chairs. (Anger and Rage, that can’t be a coincidence)

The opening track Malstroem begins with a cool little arrangement fake-out; a lovely acoustic guitar and flute introduction leads to a driving little staccato riff that gives the impression the song is going to increase in speed and intensity but, when the expected massive riff comes, the tempo drops in half. It’s a great little moment that feels like the floor just vanished below your feet and you have a split second to contemplate that prior to plummeting downward into the abyss.

The title of this track is apt, it’s a roiling concoction; Pelander’s grinding guitar (which would get Tony Iommi’s seal of approval I’m sure) intermingles with sci-fi tinged pipe organ and acoustic guitar stabs propelled by the lumbering brontosaurus groove of the rhythm section.

Pelander uses the simplicity of the arrangement to his advantage, the dirge-like gate providing the perfect foundation for his impassioned vocals. I sampled a lot of retro bands from Sweden during the late ‘00s and Witchcraft really stood out primarily because of his voice. You can hear echoes of Roky Erickson, Jim Morrison, Marc Bolan and the aforementioned Bobby Leibling in addition to the expected Ozzy references. “Nucleus” is his finest performance to date.

The punchy Theory Of Consequence is the shortest track here, clocking in at just under 3 minutes it’s a fun little rocker in the Uriah Heep mode. The advance single The Outcast is more reminiscent of the earlier Witchcraft albums, the first half of the song an uptempo flute-driven rocker and then settling into more of a Zeppelin-meets-Wishbone Ash laidback jam for the second half. These two songs add some variety in tempo to the proceedings, which for the most part is slow and deliberate.

My favorite track on the album is the bluesy Helpless, it has attitude to spare with Magnus building the intensity to full jet engine roar by the conclusion. The guitar solo on this song is killer, I just love the Gibson + Orange Amplifier sound.

The remainder of “Nucleus” consists of a balance of shorter mid-tempo doomy rockers like the excellent An Exorcism of Doubts (very much a Black Sabbath homage) and the extended progressive excursions of the title track and album-closer Breakdown.

These longer pieces will probably either delight or infuriate depending on the listener. There are certain musical styles that seem to reach their full potential through repetition; funk grooves get funkier the longer you ride them, psychedelia needs space to weave its spell and doom riffs seem to get heavier the longer you play them.

Pelander approaches these tracks like meditative mantras, allowing them to stretch and build slowly, combined they equal 30 minutes of the running time.

The title track is the most “prog” song on the album and the addition of cello and female backing vocals really enhance the atmosphere. The arrangement ebbs and flows going from the quiet and pastoral to the aggressive and edgy, it’s an enticing journey. The only real problem is it just goes on a little too long, a slow 30-second fadeout around the 10-minute mark would have worked in its favor.

Breakdown is the better of the two epics and is a great way to close out the album (although the addition of a bonus track tacked on the end kind of negates that a little bit). The song is a dirge constructed in two contrasting segments. The opening half is built on a single clean-toned guitar pattern that repeats and is reminiscent of the more recent albums from the Portland-based band Earth. The second half is pure menace, malevolent and crushing with the Magnus sounding particularly unhinged with his most extroverted vocal performance of the album. It’s an intense journey.

As a whole “Nucleus” is the most experimental and searching album Witchcraft has done to date. It’s quite the left turn from the rather straightforward approach of “Legend” and personally I applaud the decision to defy expectations. It’s an intense, ballsy record and one that I recommend to adventurous listeners…and worshippers of “the riff”.

Inhale deeply.

Released 15th January 2016

Buy ‘Nucleus’ directly from Nuclear Blast Records

Review – Endless Tapes – Brilliant Waves – by Progradar

I’ve always been a sucker for great progressive instrumental album and a fan of great bass playing so, when I heard about Endless Tapes’ first full-length release ‘Brilliant Waves’, I knew there was a good chance I was going to be seriously interested.

I just love the way that instrumental music leaves your own imagination to fill in where vocals would have before. That’s not to say that these aren’t complete releases in the first place that are missing something, no, it just leaves my imagination free to interpret what the musicians have presented before me.

Endless Tapes is a collaboration between bassist and composer Colin Edwin (PorcupineTree/Metallic Taste of Blood/Twinscapes/O.R.k etc) and drummer/multi instrumentalist Alessandro “Petrol” Pedretti.

Setting out their plan for an immersive and engaging album, early 2014 saw Endless Tapes “road test” their nascent material over a series of well received live dates in Italy with the duo expanded to a full live four piece band in conjunction with stunning visualsby video artist Danilo Di Prizio.

Consequently debut album Brilliant Waves, expands on their previously released eponymous EP, showcasing a kaleidoscopic collection of instrumentals inspired by the patterns in commonplace urban geometry and the recurring, cyclic themes in seemingly ordinary everyday surroundings.

Opener and title track Brilliant Waves is a delightfully ethereal track that trips along without a care in the world. The gentle tinkle of the somewhat randomly placed piano notes leaves a feeling of intelligent, yet alien, curiosity in your mind. Its unhurried grace and calm demeanour let the subtle tension build gradually, yet the purity and innocence leave you in state of harmonious grace. Terminal 1 is more direct and agitated from the first note, the strident bass and discordant drums leaving you slightly on edge. It has a science fiction feel to the grating vocal and guitar note and keeps you in a slightly nervous frame of mind.

Another reflective and insightful introduction opens up Il Guardiano, the delicately strummed acoustic guitar leads your mind on a serene journey, the hushed vocal adding an idyllic feel. An alien, astringent note roughly pushes everything aside as it takes on a denser, more muscular feel. A sinister note makes your skin crawl in a deliciously creepy way. Hypnotic and mesmerising it powers on to a captivating conclusion. In keeping with the track title, Saturn has a real out of this world tone to it. The repeated guitar note and relatively off-cadenced anodyne drumbeat keep in a state of flux. A slightly uneasy, otherworldly vibe runs throughout, lulling you into a perceived state of mind. On the surface it is soporifically alluring but, underneath, some thing strange and incongruous lurks.

Bass Collapse is deep, complex and transcendental. The bass feels like it has hidden layers and labyrinthine depths to it with its ponderous, unhurried delivery. The notes seem to lay heavy on your mind, elaborate and compounded. It is not a track for the faint of heart, there is no light in its delivery, it is dark and convoluted and all the better for it. Immersive, slightly dissonant and a tad antagonistic, Possible Mission is another track that feels like it has hidden depths, there is some feeling of density to the music. Serious and sombre with an intelligence deep at its core, it appeals to the contemplative and thoughtful among music lovers and gives more with each repeated listen.

Private begins in an introspective fashion, mood music with a cinematic depth. It inspires a reflective and thoughtful state of mind, one in which you may be pondering the nature of the whole universe, such is the crucial and weighty tone. Stylish bass and drums with a spaced out synth note leave a melancholy air touched with sentiment and warmth. The closing track on the album Last Days invokes a feel of wistful yearning yet with an uneasy tone just below the surface. Trading uncertainty and a slight note of pessimism with optimistic guitar notes, it leaves a reflective trail across your soul. I found myself thinking of far eastern shores, the warm sun falling on my body but knowing that, soon, I would have to leave it all behind, the sad side of nostalgic memories.

An extremely well constructed and immersive soundscape that requires your full concentration to enjoy it to the full. It is an album that has hidden depths and you discover something new every time you listen to it.

Released 15th January 2016

Buy ‘Brilliant Waves’ from Burning Shed

Review – Field of Vision – The Vicissitudes of Life E.P. – Review by Progradar

So, can you really get an idea of how good a band are from an E.P. with just two tracks on it? That is what we are here to find out today.

Glasgow’s Field of Vision’s ‘The Vicissitudes of Life’ E.P. runs out at a grand total of sixteen minutes and forty-five seconds across its two songs and I wanted to know if that short musical interlude can give me an idea of what the band are all about.

But, first, a little history……

Field of Vision was born in 1988 in a rehearsal studio in Glasgow’s West End.

After a brief spell in Glasgow prog band Abel Ganz, singer Martin Haggarty advertised for musicians, and found himself in a rehearsal room with keyboard player Graham Holley, who brought his friend, drummer David McDonald. Immediately striking up a rapport, the vocalist, keyboardist & drummer set about finding two other kindred spirits to make up Field of Vision.

In 1989, the fledgling 5 piece entered Glasgow’s Pet Sounds studios to record their debut ‘Lessons In Predictability’, and the more ambitious ‘How Are Things In Moscow Anyway?’.

Fast forward through lineup changes, wives, children etc until 2008, when the original 3 got together again, with a view to working together. Due to work commitments and other misdemeanours, the serious business of making music did not recommence until early 2013 when work started on the forthcoming EP, ‘The Vicissitudes of Life’, which was eventually released on the 24th November 2014.

Bloody hell, where did Rush suddenly appear from? The introduction to Sand is all edgy keyboards and staccato guitar riffs supported by some energetic drumming and could have come from ‘Hemispheres’ quite easily. Martin’s vocals kick in and his earnest, almost yearning delivery fits in perfectly with the excellent music. This is seriously polished stuff, the production, mastering etc. are top notch, only adding to the Power Trio comparisons. A touch of class is added by the elegant backing vocals of Holly Blair and I am already impressed. A polished progressive rock track with a powerful under current of hard rock that holds it all together, the ever present dynamics of Martin and Holly’s vocal interplay adding a refined depth. That is not all, however, step in David Porter with an intricate, searching guitar solo and another layer of class is added to this already stylish song.

There is a more 80’s neo-progressive feel to the opening of If Tomorrow Comes. The introduction even feels like a more mainstream rock track before the stylish, echoing guitar and persistent bass bring us back into a more progressive arena. I get a feel of early ‘Hogarth-era’ Marillion but with Haggarty and Blair’s vocals giving this track its own definitive identity. Soul-searching and emotive, it seems to be building up to a musical outpouring. The swirling keyboards add a real lustre to the background and that excellent and tasteful production comes to the fore once more. An intricate keyboard interlude precedes a cool jazz infused section that is seriously laid back and chilled before segue into a smart keyboard solo that Rick Wakeman would have been proud off. The vocals then take centre stage as Holly and Martin give a neat and soulful interplay, brooding and seriously passionate, the intense guitar work adding a real edginess to it. You almost find yourself holding your breath as this seriously earnest song fires at all your emotions and plays out with a deep felt lament.

Wow, that was seriously emotive, moving, stirring and, above all, impressive stuff. A two track E.P. that really is worth a listen and, as a forerunner of things to come, should see the band take a big step towards success.

Released 24th November 2014.

Download the WAV or MP3 files direct from the band.

Review – The Geof Whitely Project – Circus of Horrors – by Emma Roebuck

I first became aware of the Geof Whitely Project (GWP) after a recent contact through my show on Progzilla Radio and I am always keen to hear new acts and artists. They very kindly sent me ‘Circus Of Horrors’ to try out. The GWP have produced a huge quantity of material in their short musical existence and Geofs’ head must be exploding with ideas constantly to produce so much material and, yet, it’s all of a high standard of composition and structure from my oh so brief experience of the product.

Musically I would place them in the same category of Alan Parsons Project, Supertramp and the Electric Light Orchestra. Melody is king in the album as is the song. There is no doubt as to the standard of musicianship on all of the tracks but it never swamps or dominates the music. The album is consistent with no filler but a persistent track after track of high quality songs that sit close to the pop/rock end of the Prog market.

The album drops straight into the Title track Circus Of Horrors that immediately moves across time signatures and moods evoking a sinister soundscape of a child’s nightmare. The theme of transformation and change through strife and pain shout from the melancholic understatement.

The Hunter is dominated by the piano and bass and has a beautiful saxophone laid over the music. It reminds me of the kind of things that Dave Gilmour has produced in his last couple of solo albums. There is no plagiarism in it just the spirit of those albums.

Baila Conmingo is an offbeat track that is almost a dance instrumental piece that shows off the production excellently.

Work of a Human Mind is another stand out track massive in content and sound. It examines the human condition and the endless search for a reason for existence.

The closer Story Book is another self examination of humanity from the perspective of expectation of others and how we view ourselves in retrospect. The Guitar dominates this track stating a musical a counterpoint to the lyrics.

From the perspective as a lover of music it is an album that is worth owning. It doesn’t challenge the musical world or break new ground but I don’t believe that to be the intention of the project. I would like to hear the next albums show the rockier side that, in some of the tracks, seems to be fighting to get out. It would add more variation into the music and maybe push GWP into a broader audience. They do what they do very well and I would like to see it grow and develop.

Released 31st October 2015.

Buy ‘Circus of Horrors’ from Bandcamp

Review – Twice Bitten – Late Cut – by David Rickinson

David Rickinson’s first review for Progradar is the excellent ‘Late Cut’ by Twice Bitten……

The 1980s……

I abandoned, to a large extent, Progressive Rock in favour of bands like Eurythmics and China Crisis and then, later on, Prefab Sprout and Deacon Blue. But then it was a strange time for music – all that weird electronic synthesiser stuff, and the New Romantics. Prog was hiding in a cupboard, licking its wounds.

It was the age of MTV – video didn’t only kill the radio star, it dressed him up in a pastel suit with the sleeves pushed up, buried him and then danced on his grave.

This is important, because it goes some way to explain why Twice Bitten never achieved any real success – they were terminally untrendy in a decade where style was much more important than substance.

Rog Patterson and Greg Smith met as philosophy students at Nottingham University. A shared love of 12-string guitars, a passion for real ale and a conspicuous absence of dress sense made it inevitable that they would form a band.

Somehow they combined their studies with playing hundreds of gigs around the country supporting bands in the Progressive Rock scene, but unsurprisingly commercial success eluded them and after nearly four years, a couple of independently-released cassette albums and a track on a compilation long player, they called it a day.

One of those cassette albums (1985’s ‘No Third Man’) makes up the bulk of this release – the 7 tracks of that album have been transferred from a cassette master tape into the binary world and cleaned up. I have to congratulate David Elliott for his efforts here – I think he has done a great job.

The album’s opening track, Kingdom of the Blind, sets out Twice Bitten’s “heavy wood” stall for all to hear – a combination of staccato strumming and delicate picking on 12 string guitars.

Rain stops Play is an instrumental led by some very tasteful bass playing

Two of the songs really stand out for me, Swallowsong and Blue Sky Century – A pair of lovely songs, one with the bass very prominent as a lead instrument and the other a particularly gorgeous song with long vocal phrases over a delicate backing of 12 string guitars.

West End – the closing track on the original album, at just over 10.5 minutes, is covered with phasing, flanging, fuzzing and probably all manner of other electrickery as it tells its dystopian tale of surviving in the ruins of London. I like a bit of dystopia!

Special mention must be made of the album’s final track, the epic Crocus Point. Recorded in 2015 (because it took 30 years to get the 12 string guitars to stay in tune long enough to record the whole song) and mixed superbly by Kevin Feazey of The Fierce and The Dead fame. For eight minutes we are treated to some great 12 string work, with lots of delicious suspended chords and a gentle vocal line, and then suddenly all hell breaks loose as the electricity is turned on for an extended solo of great swooping curves before gradually calming down and drifting gently off into the sunset.

One of the things which surprises me about this album is how well it fills the soundstage of my living room, even though it‘s only two blokes with guitars. There are no keyboards or drums, and it is all the better for it.

Despite being very firmly rooted in the 1970s and stylistically very reminiscent of Anthony Phillips-era Genesis and Nigel Mazlyn Jones’ classic album ‘Ship to Shore’, there is a timeless quality to these songs which I really like. I could have listened to, and enjoyed, this album at any point in my life, it’s a shame I didn’t discover Twice Bitten until 2015.

Released 2nd October 2015 via Bad Elephant Music.

But ‘Late Cut’ from bandcamp

David Rickinson

I’ve been affected by music all my life – I still get shivers down my spine when I hear the intros to “I want to hold your hand” and “She loves you”, just as I did as a 4 year old when I first heard them.

For the last couple of years I have consciously decided to listen to full albums without skipping tracks. It is how the artists put them together. Last year I managed 687 albums (422 different ones) by 198 different artists.

My biggest musical regret is deciding to buy a textbook at university in 1977, rather than spending the money on a ticket to see Yes at Stafford Bingley Hall.

I’ve worked in IT since 1978, starting as a trainee computer operator, where I used to amuse myself by singing albums such as T’he Lamb lies down on Broadway’ from start to finish to while away the hours.

Review – Casualties of Cool – Self-Titled – By Gary Morley

I didn’t know what to expect when I agreed to review this.

The only album I possess by Devin Townsend is ‘Ghost’ which is, I’ve learned atypical of his output. ‘Ghost’ is a beautiful ambient collection that drifts and soothes the soul.

First listen to this indicates that it is closer to that vibe than the rest of his output. The opening tracks have a driving percussive attack that is more skiffle than anything else. One thing that made me smile – my son came down from his room to complain as the bass on the opening track was making his bed vibrate! Now I was not playing it loud, it was late at night after all, but that‘s the sonic palette used here – subwoofer friendly bass to the front.

The voices are multi tracked and muffled, this adds a ghostly feel to the songs, layering atmosphere on top of the beat. Lonnie Donegan on acid, but in a good way. Track 2 puts me in mind of a male fronted Cocteau Twins or a less cerebral Dead Can Dance.

So far, I’m enjoying this a lot, it’s very me.

If I try to relate it to a more Prog centred audience, imagine the narrative from Hawkwind’s “Warrior On The Edge Of Time” with all its twisting harmonies and dense soundscape, but without any reference to Sword or Sorcery. The feeling of claustrophobia stays, the voices buried beneath the mix, I’m sure the lyrics are deep and meaningful, but they are a layer of sound here, echoing around as the guitars are strummed and a droning wind storm of orchestral force swamps the mix.

It’s muddy and dense, whether this is the intention of Mr Townsend or not, all I can say is listening to it for the first time through headphones (out of deference to my son) is immersive, perhaps too immersive as the music is second place to the low frequencies.

I’m wondering if it’s also a by product of new headphones (blue tooth) and the format that the files came through in – MPEG-4 Audio , not a format I’m familiar with, being a top end MP3 or WAV man myself.

So far, the album has been a chilled mix of acoustic sounds behind this constant hum of bass and echo.

Hello, still with me?

Good.

Well, I’ve been a naughty boy, and for the purposes of this review, I’ve burned the files to disc. I know, home taping is killing music, but the difference between the 5.1 speakers of the PC, headphones and now a proper Hi Fi for playing this album through is marked.

Through the Hi Fi, it takes on new life, the drone of the bass is gone, the tracks are lighter, still ambient with a background of hum, but it’s now peaceful, much more in line with ‘Ghost’, the vocals from Devin Townsend remind me of a French artist, another favourite of mine, Kid Loco. They’re husky and breathy, but measured, like Lou Reed singing a lullaby.

The warm mix is very Kid Loco too, in fact you could mix ‘Kill Your Darlings’ tracks with the tracks on this and they would complement each other nicely.

Perhaps that’s the best way to review, write down the albums that you’d use to make a mix tape / CD/ Flash Drive with the one under discussion. Everyone would suggest different musical companions, as we all arrive here via different routes. I’d add a smatter of Turin Brakes to the mix too as the gentle strumming acoustic guitars evoke their sound.

Hello world. It’s me again. I have a confession to make. On the third listen, I could resist no more and ordered the deluxe 2CD and DVD version.

Why, you ask, when you have the review copy?

Well, the first reason is , this is fabulous stuff, earworms that burrow through the headspaces and leave little bomblets of melody and tunes that nag away until you give in and put the CD on . The second reason, and this is just my personal stand, is that if I like this enough to say go buy it, it would be doubly hypocritical not to follow my own lead.

No musicians suffered as a consequence of this review. Quite the contrary, as the purchase will generate income and that hopefully the relationship between artist and listener can continue by virtue of upholding the tradition of paying for the pleasure.

So, in conclusion, if you’re partial to a (quiet) blast of Brian Eno, are moved by Sigur Ros, like melody, prefer music with space between the notes and are ready to embrace the sonic nuances here, and then take a trip with us, we don’t know where we are going, but we have the perfect soundtrack.

Released 15th January 2016

Buy CoC from InsideOut

Review – UT New Trolls – E – by Emma Roebuck

Progressive Rock, as it began in the late 60s (if you break it down into its component parts), arguably had key elements that were essential for it to be Prog. Skilled musicianship (if not virtuosity), an understanding of varied musical styles and the ability to distill it into your own identity and yet retain those obvious components in the music. These were, in the main, Jazz, folk, Classical, blues, soul and Rock, there are probably more but the essentials sit in there in the big 5 or 6 bands that broke through in the early 70s.

So onto UT New Trolls who have a history that goes back to the mid 60s and grew out of that very tradition. I won’t go into their long and hectic history but they have been around consistently since 1966 with splits and reunions dotted across the recording world.

The sound is very obviously from that period when you hear it. Hammond organ and Moog synths are heard throughout this album with a thick solid production. The album was recorded at the back end of 2015 in analog so I assume no computers or digital instruments were used in the studio apart from the actual recording equipment.

To the album then, as a whole piece it feels like a journey through the history of music and I know that was the aim of the band when the conceived the project. The Italians close connection with classical music and its history is very obvious in the first track Dies Israe (Day of Wrath), a haunting violin sat in front of a deep keyboard tone, ominous and threatening of things to come. Doom laden, it then jumps into a folk dance that I believe to be a Polka type rhythm in a truly insane change in tone of the track. This sets up the entire album to be filled with the unexpected and a delightful spirit. My translations may leave something to be desired but I am interpreting.

Cambiamente (Changes) is not a Black Sabbath cover but it rocks out as good as any can. It’s not prog metal but it is good rock in a progressive theme.

Io (I) is a ballad in a full on fist pumping passionate style that is worthy of any power pop band from the 80s or 90s, but without the 80s cold calculating production.

The epic Ostinato (determined) is classic prog track that many modern or classic bands would be proud to produce. It’s layered with experimental and melodic components that explore musical themes and is enough to fill an album from that one piece alone.

I’ve selected various tracks off the album as highlights and personal favourites but the 8 track album has something for every fan of progressive music. Do not let the fact that this is sung in Italian put you off, the lyrics ( of which I have no idea what they mean), on listening, become part of the music.

Musically, if you like Camel, Procul Harum, ELP , Yes, Early Genesis, Pink Floyd (Syd period) or Big Big Train, you will find something immediately familiar and reassuring for your aural delight.

As a friend who had listened to album before me stated, “It’s a bonkers album with so much variation to offer the listener”. I’d definitely put it in the ‘worth a punt’ box.

Released 27th November 2015

Buy ‘e’ from self distribution in Italy

Review – Magnum – Sacred Blood, Divine Lies – By Progradar

“Nostalgia isn’t what it used to be…” – anon

“Remembrance of things past is not necessarily the remembrance of things as they were.” – Marcel Proust

Should we look to the past for inspiration when it comes to music? The whole point of progression is to move forward surely? To a certain extent, I would agree but we all sometimes like to listen to an album from those sepia tinged days gone by, don’t we?

Perhaps we use it as a point of reference, maybe it brings back great memories, I don’t know? Also, the flip side could be true, we might not have liked that music at the time but, as we have got older and matured, we now come to appreciate it more.

One of the bands I grew up with, and was a big fan of, was the British rockers Magnum. I always felt they had a bit of a progressive tinge to their music on tracks such as ‘On A Storyteller’s Night’, ‘How Far Jerusalem’, ‘Kingdom of Madness’ and the like.

The core of the band has always been main songwriter and guitarist Tony Clarkin and vocalist Bob Catley, whose dulcet tones must be one of the most recognisable in rock.

Their success peaked in the late 80’s and early 90’s with the albums ‘Vigilante’, ‘Wings of Heaven’ and ‘Good night L.A.’, records with more of a hard rock and metal approach. The band seemed to fade away, for me, after this until the release of ‘Princess Alice and the Broken Arrow’ in 2007, an excellent return to form and they have produced four classy albums since.

2015 sees the release of the latest chapter in Magnum’s long history, ‘Sacred Blood, Divine Lies’, delivered by the band’s now stable line up of Tony and Bob plus Mark Stanway (keyboards), Al Barrow (bass) and Harry James (Drums).

Tony Clarkin started working on the resounding new album even before ‘Escape From The Shadow Garden’ crashed into the UK Album Chart at 38. Clarkin was inspired to write 25 new songs during and after the subsequent triumphant European tour, the most outstanding 13 of which were selected for ‘Sacred Blood, Divine Lies’.

Title track and opener Sacred Blood, Divine Lies sets the tone for the rest of the album, a really good, dynamic rock track. The first riff on the record is pulsating and driving and the drums hold everything in place, giving the rest of the band free rein to really rock out. Bob Catley’s vocals are as good as ever, the catchy chorus showing that his forty years plus at the front of the band has not seen the power of his voice wane a jot. This is a real ‘in your face’ rocking track and one which you can’t help bouncing along to, the ‘air guitar’ even came out for a dust off on Tony’s scorching solo. An impressive start to the album indeed, Tony goes as far as saying he thinks it will join the ranks of the great Magnum classics! The thundering riffs continue on Crazy Old Mothers but not before a more gentle piano led introduction. A slower paced track with a heartfelt vocal performance on the verse, the chorus drives on like a marching force and the whole track has a nostalgic feel. Mark Stanway’s piano playing gives a softer feel on the elegant verse but then Tony’s guitar hits you with a staccato riff on the chorus, all powered along by the superb rhythm section of Al and Harry. This couldn’t be anything other than a Magnum track with Bob’s trademark vocal key. Another great, if short, solo from Mr Clarkin and things are complete.

Tony Clarkin wrote Gypsey Queen after being inspired by a concert in St. Petersburg, a city which deeply impressed him with its unique atmosphere. This anthemic masterpiece begins with a mellow and laid back synth led intro, Bob’s vocal taking on a pleading tone before the drums kick in and the riff hoves into view, powerful and direct. The chorus is forceful and charismatic with a real addictive note and I’m hooked, a superb song gets better with another blistering solo from Tony’s guitar. One thing I’m noticing is their seems to be a real plethora of fiery guitar highlights building up as we move further into the album. An absolutely belting song and one that I am finding really hard to get out of my head but, when it is this good, why bother? Princess In Rags (the Cult) is another fast paced rocker that gets you up on your toes with its infectious riffing and energetic drums. The pulsating, edgy verses are highlighted by some great keyboards and then it opens up and flies off with the lively chorus, another welcome Magnum hallmark. This breathless song really does move at an electric pace as if it can’t be held back and the fluid solo is just as intense, a really full-on and red-blooded musical experience.

Now onto the first ballad-like track on the album, Ballads are another thing that Magnum excel at and Your Dreams Won’t Die is no exception. “To me, the title and lyrics have an almost religious depth,” says Clarkin of the song. “There’s a saying that somebody is not forgotten if their name is remembered.” The intro is slow and measured, lulling into a relaxed mood. Bob’s vocals begin emotive and sincere and the strings in the background give everything that poignant feel. The chorus is stylish and memorable and really moves you in only the way that a Magnum ballad can and, let’s be honest, who doesn’t like a really good rock ballad? A resounding riff-heavy introduction sets up Afraid of the Night, a song with really dramatic, almost operatic feel to it on the verse. A slow burning chorus opens into something really vivid and elemental. This track dances across your mind like a musical storyline, a clever and inventive track but one that doesn’t lose the power and dynamism of a proper rock epic.

A Forgotten Conversation has a subtle and understated introduction with Bob’s hushed vocals the highlight. The tone changes with the persistent drums, commanding guitar riff and stentorian vocals on the chorus and the interplay between the lighter verse and potent chorus works exceedingly well. Tony delivers one more trademark solo that really gets under your skin, another hard rocking addition to the album. The pulsating introduction to Quiet Rhapsody sets you up for the pounding riff that hits you like a ten ton weight, possibly the most assertive on the album. It spurs the track on with bulldozing force as each striking of the drum knocks you back in your seat. The chorus softens this slightly but only just, Bob’s voice has a forcible tone to it and you just get caught up in the irresistible force, one that is emphasised by yet one more superb solo.

Another elegant introduction opens Twelve Men Wise And Just, a haunting piano note adding to Bob’s great vocals before everything kicks off big style as the blue touch paper is lit. The pace increases tenfold and the energy and dynamism go off the scale. A track reminiscent of the great Magnum releases of the late 80’s, it wouldn’t have been out of place on ‘Wings of Heaven’. The whole song is captivating and addictive and I just found myself tapping my foot and singing along. A nicely judged harmonised section lets you get your breath back before the headlong rush begins again, another classic in the making. So to the final track on the album, Even Tony Clarkin was surprised by Don’t Cry Baby from the start, “Although I initially didn’t have a lyric, the melody kept going through my head, as well as the chorus with acoustic and e-guitars plus piano. We even kept the drums from the demo version because our drummer Harry James liked them so much. He said: “I love it the way it is. We shouldn’t change a thing about it”.” A really gracious track that begins with a warm and rounded vocal and rhythm section before the tempo increases and the vocals take on an unfeigned sincerity and passion that bleeds into the general feeling of the song. There is a superb piano section that makes the hairs on the nape of your neck stand up and you feel a little melancholy note rise in the vocals. Tony throws in some delicate, yet intense, guitar work and the song fades out to a close.

This is the sound of a band back at the peak of their powers, confident in their own ability. ‘Sacred Blood, Divine Lies’ takes me back to a time when Magnum were at the height of their popularity and should be a must for any fan of the band. Superb from start to finish, I take it Mr Clarkin has already started the next album and I, for one, can’t wait!

Released February 26th 2016

Buy ‘Sacred Blood, Divine Lies’ direct from the band

Review – Toxic Smile – Farewell – by Sabrina Beever

Two years after their release of ‘7’ back in 2013, Toxic Smile are back with new album ‘Farewell,’ which has a total of one track, yes you read it right, one track.

From your first glance of the album art, you are drawn in by the expressive and abstract style of brush strokes that give it a very emotive cover. However, to see that there is only one track, surely it must just be an EP? Then there’s how long the track lasts for… an epic 42 minutes. Toxic Smile took on a big task on writing an epic progressive track lasting for 42 minutes, it takes a lot of ingenuity, musicianship and a special amount of madness; they have combined all those traits, especially fantastic musicianship, to produce an epic journey melding styles and themes together.

Back in 2004 the band set to work on the classical project, which they then released in 2006, ‘……. in classic extension’. The opening of ‘Farewell’ straight away dictates the classical experience the band have had as the elegant sound of strings bows in to paint a tranquil scene before electric instruments are brought in and your sense of rhythm unravels.

A sense of pulse is a primary foundation for any piece of music because it provides drive and something you can tap your foot along to. Toxic Smile have realised this but chosen to ignore it at different moments during the progressive song. It’s almost as if there are 3 different time scales occurring as they all fall on different beats to each other, the drums have one beat and the synth sounds and bass guitar have different accented rhythms, it leaves you with an uncertain sense of what beat goes where. Although the sense of a strong rhythm from the audiences point of view is lost, it emphasises the skill the band have, to be able to keep different rhythmic lines occurring at the same time – fundamentally speaking – and then come to a regular rhythm where your foot can become mobile again.

Vocalist Larry B is not constantly relied upon to sing an extremely repetitive and superficial melodic line, which is very refreshing to hear – or not hear as the case may be. Vocal lines enter in stages and you can feel a shift in where the music is leading too. This, therefore, provides the emotive expression, in word form, of what they are trying to convey in the song.

Being such a long track, it would be expected, or at least hoped for, that the melodic material develops and changes, even remotely, in style; this is most definitely the case. Some style choices are surprising and, if written down on paper, could be shot down in flames. For instance, the combination of reggae and heavy rock seems an unlikely choice but Toxic Smile have made this odd idea work well.

The juxtaposition of distorted guitars and heavily pounding drums contrasts greatly with the chill of simple rhythms and melodies, with an off-beat accent for the reggae flavour. Nearer the end of the track the style heads in a completely unexpected direction into Funk town. The bass becomes more alive with energetic riffs and the guitar has distinct swirling sounds as the drums change rhythms, the styles couldn’t slide more seamlessly into each other, despite the initial unlikeliness of melding them.

Overall, this is a great album transporting you seamlessly to different emotions from the variation they have in their one epic track.

Released 6th December 2015

Buy Farewell from Progressive Promotion Records

Review – Jack Arthurs – Treasure House – By Emma Roebuck

In this, his second album, Jack Arthurs follows ‘Only Dreams are True’ with ‘Treasure House’, building on the foundations of a strong debut solo album, growing as a songwriter and showing one man and an acoustic guitar are not something to avoided.

The test I set myself with any review is; ‘Can I listen to this several times in a row and still hear more after each play’. ‘Treasure House’ passes this test with distinction. I cannot comment on the CD packaging as, at the time of writing I haven’t got my copy, but the front cover shows a Turneresque view of Bamburgh Castle, an iconic vista from the North East coast of England.

The music is entrenched in that region in its influence and spirit. It is full of celebration and with tons of positivity throughout the songs and, yet, Jack portrays the intrinsic sadness that sits at the back of life in the North east at times. The character of the people in this part of the world shines through in songs like Hope and Soaring. There is a stoic character outside but with a quiet poetry in their hearts that is moved by the simplest of things.

The shortest song on the album Spirals, an instrumental, is fascinating in that it has so much space in the track and yet it fills the space well. Jack has obvious skill with the guitar but is not flash or pyrotechnic with it. I am drawn to make an obvious connection with Nick Drake and Roy Harper and this is very valid to some degree with the plaintive voice and the songs that look below the surface of life and examine the world in way only a singer song writer of this tradition can do.

I am not sure if he (Jack) recognises it but I also hear Alan Hull (he of Lindisfarne fame) in his solo guise. I saw Jack recently play some of these songs live and he feels and lives every note of the songs, they come from the heart in the purest form.

Jack is not frightened to let the music alone tell the story and that is a great strength in this case. You can listen to this album on many levels, a glass of wine to hand and the stereo on, and just let the music fill the void and find yourself in a contemplative mood, wishing to watch a sunset while sat on a North sea coast. It’s not background music, it would be almost rude to use it to fill silence, but I can see me putting it on when I get in from a night out to unwind and let the cares of the world drift away.

Bad Elephant Music have made a great signing here. The potential in Jack Arthurs’ writing is yet to be fully realised and I see much to come.

This kind of music is never out of fashion because it never really was in fashion but it crosses boundaries and borders of genres. Everybody, from someone who has heard an Ed Sheeran album to someone with a folk background, can find something to enjoy here.

If I’m being mischievous, I want to hear Jack play with a band and hear him rock out or fill out some of the songs. If he does or doesn’t, it won’t matte,r he can hold his head high, the so called difficult second album is not difficult to these ears.

Released 5th February 2016 via Bad Elephant Music.

Pre-order ‘Treasure House’ and listen to two tracks at bandcamp now

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