Those perfect proponents of incisive social comment coated with a liberal dose of whimsical nostalgia, Sleeperman, return with September’s single (okay, I know, check the date but life gets in the way you know!), the imaginatively titled Cheddar Baguette.
Damn, these guys are good, this gentle meandering track really does get hold of you heart with its sepia tinged memories. Neil’s elegant guitar has just the right touch of thoughtful longing and the harmonised chorus is a delight.
“You had on your green canvas jeans and you were eating a cheddar baguette, I was wearing suede boots and a beret, they’re are things we’d all rather forget, but straight from the off we had things in common, you’re Dad drove a Ford Escort and so did mine…”
There’s only Sleeperman that can turn such simple lyrics into something so moving. This song is a sentimental daydream down memory lane and, for those of us of a certain age, a love song that will surely touch an emotional chord.
“I fell for you, I’ve fallen for for, I’ll fall for you as long as I breathe air…”
Utterly wonderful and, for me, the best single yet!
This time, the ‘B’ side is an, erm, alternative version…
Available from all the usual digital suspects and retro CD from the band contactable at their Facebook page:
I love a powerful instrumental album but they have to work harder than your normal release due to there being no words to elucidate the songwriter’s thoughts and ideas.
The best ones are chock full of brilliant instrumental phases and phrases and tend to not let each track follow the same musical path.
Hailing from Sofia, Bulgaria, Kalin Tonev was previously known as the heart and the leader/composer/keyboardist of the prog rock project TravelHouse. Tonev released just a single album (‘Mind Mapping’– 2008) under this moniker, but it gained some favorable reviews in the main prog rock sites. Kalin began working on his debut solo effort, ‘Machine Years’, spanning the whole gamut of prog signatures.
Spread over thirteen tracks and covering sixty-five minutes, ‘Machine Years’ is a thoroughly involving musical experience. Massively injected with the classic 70’s lines, modern electronic scapes with occasional dark and heavy riffs, it is a theatrical journey awash with catchy melodies and intelligent moments intertwined with a more industrial, dystopian edge in places.
Kalin’s signature synth sound is dynamic and edgy with a real feel to it and he is joined on this impressively involving soundscape by three talented guitarists, Nenko Milev, Daniel Eliseev and Biser Ivanov. Their frenetic, energetic and compelling playing adds force and vigour to an already compelling mix.
There are moments of wonderful clarity when Kalin’s vintage keyboards soar to the heavens and these are countered by the somber, skittish feel when the music takes a more chaotic route. It’s a record full of memorable tunes but the highlights for me are Short Story About Tanks, Beings, Mad Dancer, News From Nowhere and the hypnotic This Empty Space.
Complex industrial, instrumental progressive rock with a lush and thoughful side, ‘Machine Years’ is an impressive debut and should see this talented musician really forge a name for himself.
As I am sure you can imagine here at Turner House of Prog in North Somerset, and indeed at Progradar Towers up in Yorkshire, we get a multitude of albums that cross our desks and into our ears. Some from established artists who we know and love, others from bands that I’ve not heard of (Martin seems to know every band in existence!) and I generally get some nudged in my direction as Martin reckons I will like them.
Until getting this three track album in my inbox I was woefully unaware of who Jet Black Sea are and am happy to be able to rectify that here.
The talented chaps behind this atmospheric album are Michel Simons and Adrian Jones (from Nine Stones Close) and this is their third release following 2013’s debut ‘The Path of Least Existence’ and 2017’s ‘Absorption Lines’.
There are only three tracks on this album, although the albums centrepiece, the majestic title track clocks in at an impressive 35 minutes. Framed by two beautifully haunting songs, first up, the sublime opening Escape Velocity which mixes ambient soundscapes and yearning cellos and strings, building slowly with a sublime laid back sound and some soulful guitar, this hits the spot from the opening chords.
With a wonderful slow build and blend of organic and electronic, it really kicks in after two minutes with a driving pulsating riff that sees the guitar and drums duelling before the excellent vocals, courtesy of Jones’ Nine Stones Close bandmate Adrian O’Shaughnessy, begin.
Bold, epic and showing an artist not afraid to push their musical boundaries, this album’s title track The Overview Effect, ebbs and flows, builds and climbs, crossing multiple genres and sounds, from ambient soundscapes to works that would nestle in any record collection alongside No-Man or even Mike Oldfield. I am reminded of Mike’s early 90’s ambient electronica albums, like ‘Songs of Distant Earth’, in approach if not sound.
The two musicians here, Simons and Jones, are immensely talented individuals and they bounce ideas off each other to create a vast, beautiful and all encompassing sound, one that is the musical equivalent of a big hug, and this is the sort of music that the album format was invented for. Big, and yet surprisingly intimate, not afraid to push big ideas in a beautiful way. The track builds and builds, with some sublime vocals from O’Shaughnessy, whilst the musicians weave intricate musical webs that pull you in and keep you hooked.
After the almighty brilliance of the title track, the album ends on Home (E.D.L)which is probably one of the most beautiful things I have heard on record this year. The piano, the vocals, and guest performer Christian Bruin on drums, all come together to create something sublime, a genuine piece of heart wrenching beauty with a solo so spine tingling that it out-Gilmour’s David Gilmour with its soulful beauty, man you could just weep at the sheer emotional beauty of it all. You know when a song just gets it so right it transcends perfection? This is it, this is what beauty sounds like.
As my colleague over at Bad Elephant, David Elliott, says, ‘This is proper’ and he is not wrong, this is one of those albums that hits you out of leftfield, comes into your life with nary a fanfare and subtly reminds you with great big bursts of sonic prowess why you love doing this job. It’s an album that never outstays it’s welcome and is everything that a great album should be.
Thank you, Martin, for introducing me to Jet Black Sea, and thank you Adrian and Michel, this album is a pleasure to listen to, and a treasure to keep…. now where’s your Bandcamp page again, and where did I put my bank card…. if anyone needs me I’ll be absorbing the Jet Black Sea back catalogue!
2018 has been a rather excellent year for new music. It seems like no sooner has one great album come along then another arrives into the inbox at Progradar Towers. Music of all sorts of genres and description but the overriding feeling I have got this year is that there is joy back in music. The majority of new releases I’m hearing have enforced my faith in the restorative abilities of music and the fact that music can simply put a smile on your face and make the world a happier place to be in.
The latest album to get me buzzing and happy to get out of bed on a wet and miserable October morning is the new release, and 10th studio release, from progressive rock stalwarts The Tangent:
“Entitled “Proxy” it’s a single CD and Vinyl – a riot of juxtopposing styles, presented in a really direct manner and despite being firmly rooted in the stylistic traits of the Progressive Rock Genre takes some unexpected turnoffs and a major swerve.
Recorded during the band’s tour with Karmakanic in 2017/18 – there were more chances than normal to work together on the record – hotel writing sessions, van discussions, soundcheck ideas – all of which have allowed the band to make an album that is organic and as close to being that band, as has happened to the group of far flung members since they began their career 15 years ago.”
Thank you press release, main man Andy Tillison goes on to say, “I often think of good progressive albums as being like the Bayeux Tapestry, an account of the times the band lives in, using all the history that got us to that point, commenting on the Now with the experience of the past.”
Andy agreed with me that ‘Proxy’ is a lighter album than ‘The Slow Rust of Forgotten Machinery’, the band’s previous studio release but it does start with the obligatory protest song, title track Proxy. A track about the continuing wars that share their name with the song. The Tangent have always brought politics into progressive rock and this song carries on that connection, Prog always being born from counterculture. It’s a complete prog reference journey with Tillison’s swirling hammonds and synths, Jonas Reingold’s signature punchy bass, Steve Roberts’ dynamic drums and Luke Machin’s stylistic guitar work. Take yourself on a sisteen minute nostalgic road trip punctuated by the ever so elegant sax and flute of Theo Travis, this is what the band have always been good at, delivering a potent message with lashings of fantastic music to ease it home. The guitar and vocal motif at the end puts a particularly large smile on my face, tipping a nod to the 70’s in the process, The Tangent are back!
Now the album takes a wander over into left-field territory with the jazz-fusion instrumental The Melting Andalusian Skies, a piece of music as laid back as they come, sit back, enjoy the warm, sunny feel and let the ever so smooth sounds flow over you. Luke and Andy trade guitar and synth like the best jazz pros and Theo gives the whole shebang the necessary chuzpah. Luke throws in some Gordon Giltrap guitar and even acid jazz to give a psychedelic overtone, this is music for the hell of it, these guys are having a seriously good time, it’s patently obvious. Described by the band as an attempt to find the missing link between Porcupine Tree and Jamiroquai, A Case Of Misplaced Optimism is more funk than any man should have to handle! This track will get you digging the groove and saying ‘yeah man’ every five seconds, it is seriously infectious piece of music that put a huge grin on my face, yep, the joy is here for everyone to hear.
Rapidly becoming one of my all time favourite songs by the band, The Adulthood Lie is my stand out track on what is becoming a seriously good album. The Tangent do electronic dance music (yes you read that right, EDM!) and it works brilliantly. I know Andy wasn’t sure how the fans would take this homage to Ibiza, Fatboy Slim, Sophie Ellis Bextor and the rest but, to me, it’s a fantastic track. It’s chock full of catchy moments and a seriously infectious vibe that gets you up and dragging your dancing boots out of the cupboard before you even know what you’re doing. You know what, this is what progressive music should be about, you’re hearing a true progression and maturation of The Tangent’s sound and it’s bloody brilliant. As Andy says,
“Our belief is that Progressive Rock music is still a valid and viable musical form in 2018 and will continue to be so. Our band has always sought to take on board things from the present and add them to that magical mix. We don’t claim to be offering the FUTURE. We just claim to be offering one set of possibilities. Ours. Now.”
There’s a repeated vocal line that runs through the song that starts, “When I was young, I fell in love…”, trust me, that will rapidly become a glorious earworm! Andy admitted the band had gone a bit mad on this track but was really glad that they had.
“The whole of Supper’s Off came from a daft thing I said about “Cooking The Books Of Revelation” in a rather boring meeting at college…”
Being a fellow Yorkshireman, Andy has a particular sense of humour, Supper’s Off was a recording made at the time of (Tangent album) ‘Le Sacre Du Travail’. It wasn’t properly recorded until this album but it’s another iteration of The Tangent’s so called Fast Song. GPS Culture, Evening TV, Uphill From Here and Spark In The Aether could be said to be the others. My friend, and Bad Elephant Music boss, David Elliott has called it “an anthem for the modern progressive rock band” and he’s not wrong. A captivating and utterly addictive track with the funkiest keyboard hook and guitar riff going, it’s blasts into your mind at a mind-blowing rate of knots and takes everybody on a fun-fuelled musical roller coaster ride before tipping its hat and firing off into the distance.
Normality is resumed with the ten minute bonus of Excerpt From “Excerpt From “Exo-Oceans”, a little dip into Andy’s Kalman Filter material which is edgy, spaced out and best listened to in the dark with something addictive (legally, obviously!! you know, like Whiskey!) and this brings the heart rate down nicely so you can actually process what you’ve just listened to.
‘Proxy’ is a joyous celebration of music, done in The Tangent’s inimitable style. It’s an album that truly bears repeated listens, I’m sure Andy has left little chestnuts and references in there for people to pick up on. What we’re hearing is a true progression of the band’s sound that, while keeping what has always made them who they are, now resonates even more clearly with the world we live in. Music to make you think and music to lift your soul, what more can you ask for?
“Music is probably the only real magic I have encountered in my life. There’s not some trick involved with it. It’s pure and it’s real. It moves, it heals, it communicates and does all these incredible things.”
A poignant quote from the great Tom Petty and one that surely rings true in today’s troubled times. I love the surprise of hearing new music that moves you and takes you to a better place, there truly is nothing better.
Featuring members of both Airbag and the Björn Riis touring bands, Oak is a Norwegian progressive pop/rock band that originally emerged from a folk-rock duo. The four members have a diverse background spanning from classical piano to electronica, prog- and hard-rock, with references to the alternative scene as well as progressive rock – something that has combined to make a distinguished and unique sound. Mixing this with great musical skills and a vision of being accessible to a wide audience resulted in their debut album ‘Lighthouse’ in 2013.
Five years later, they are back with the stunning follow-up ‘False Memory Archive’. A natural continuation from ‘Lighthouse’, to which it has several small nods and references. The album has been meticulously crafted, with more use of electronics and low bass frequencies. It is both darker and groovier than its predecessor, while still sounding familiarly like Oak.
The promo arrived, unassumingly, in my inbox a few weeks ago and it was only because the band’s name triggered some sought of recognition in my mind that I decided to give it an immediate listen.
‘False Memory Archive’ is an incredibly engrossing and memorable listening experience. The opening track We, The Drowned immediately draws you into their dark but satisfying musical world. Simen Valldal Johannessen’s heartfelt vocals drip empathy and pathos and the band’s music just bleeds emotion, I was hooked from the first note.
The album has a feel of the more melancholy side of progressive and alternative music and will inevitably draw comparisons with the likes of Steven Wilson and The Pineapple Thief but these impressive musicians can stand their own ground as can be seen on the wistfully sombre but utterly graceful Clare De Lune. The album is really beginning to strike a chord with me, a wonderfully affectional musical journey that touches your heart an soul.
The darker progressive feel of title track False Memory Archive is countered by the uplifting harmony of the elegant chorus then the sparse, hauntingly pensive Lost Causes just leaves you open mouthed and slack jawed in appreciation with its powerful and yet stark message. It’s an utterly magical piece of music that cements just how good this band truly is.
The delightfully playful classical interlude of Intermezzo is grace and class personified and works like a musical amuse-bouche before the tension is cranked up by the mesmerising dark delights of The Lights, a captivating ten minutes plus of cat and mouse where light and shade intertwine and leave the hairs on the back of your neck rising.
The highs just keep coming, These Are The Stars We’re Aiming For pulsates with energy punctuated by sincere passion and fervor, Transparent Eyes is a plaintive contemplative track that almost rests a comfort blanket over your emotional state and the closing track, Psalm 51, is achingly beautiful, an ethereal joy, a song of longing and of love that brings a tear to your eye and yet joy to your heart.
I have loved music for many years, it has been with me through the highs and the lows and my life would not be complete without it. My life is now also complete with this incredible album from Oak. Albums like ‘False Memory Archive’ are the reason that music was created in the first place, they bring peace to your soul and joy and love to your heart and the world is a better place for them. I cannot give any higher praise than that.
“The album title ‘Radiance’ was inspired, not by something that sounds like it could be added to your bath, but by the brilliant and creative photography of my now good friend Leonardo Wöllart and by the idea that there’a light that burns inside us all.”
So says Mark Rowen, former lead guitarist with Mostly Autumn offshoot Breathing Space and ‘Radiance’ is his first solo album. Like many, he is not a full time musician, he just happens to play guitar and write a decent song or two, when he can find the time alongside his full time job at an electronics company!
I first heard Mark’s work as a guest guitarist on the seminal debut album from Riversea, the acclaimed ‘Out of an Ancient World’ and he has produced something of a guitar-rock gem with his debut.
Along with vocalist Lisa Box, drummer Barry Cassells, bassist Paul Teasdale, keyboardist Leigh Perkins and a whole host of well known guest musicians, Mark Rowen delivers music from the heart, music that has soul and not a little nostalgia seeping out from every pore.
There’s joy and light radiating from these songs and Lisa’s vocals (sounding a little like Stevie Nicks) give a real 70’s and 80’s Fleetwood Mac vibe to some of the tracks like My Shadow Walks Alone, Feel Like Letting Go, the beautiful The Reason Whyand the elegantly sublime Time To Leave.
There’s the haunting and heart-achingly wistful On The Blue Horizon with its subtle Americana soul and the dramatic Carousel which would be befitting of a stage musical, all these songs show what a songwriting talent Mark Rowen is and how good his core band are behind him. Mark’s guitar playing is superb, take the Dire Straits/Fleetwood Mac infused Trick Of The Light which would have graced either of those bands 80’s heyday releases, but it’s the wonderfully complex, deep, dark and beguiling ten minutes plus of Lure Of The Siren where everything falls into place perfectly to give the highlight of this impressive album. A slow burning and slow building musical delight that takes you through a whole gamut of emotions, songs like this are why I love music so much.
The album closes with the harder rocking soulful blues of Love Is Like A Rock and the piano driven, heartfelt Shine.
‘Radiance’ lives up to its title, there is a light of joy, love and humanity that shines throughout this impressive album. The musicianship and songwriting are top notch and deliver an engrossing listening experience that gets better every time you hear it.
I was a little torn when I read the press about this album and heard on the grapevine that it was a return to the heavier sound of the band, and a step away from the more electronic influences that permeated the marvellous ‘Affinity’ album. I wasn’t sure I would enjoy it as much as ‘Affinity’ and its corresponding tour, I wondered if it would be a step backwards for the band and veer off into prog metal territory. My attitude to that genre (which seems such a misnomer, and lumps so many disparate and diverse bands together in such a narrow band to be almost meaningless) is indifferent at best. Bands like Dream Theater, Anathema and Opeth have drifted into my hearing but passed me by, and if I get a CD with ‘tramp shouting down a megaphone into a dustbin’ alleged vocals then off it goes and never gets listened to again.
Luckily for me, and you, I listened to the album and didn’t just take the blurb at face value. Yes whilst it’s heavier, it is a distinct evolution of the Haken sound, taking the best parts of their last albums and including more of the electronic elements to their sonic template, creating an album that sits on the right side of heavy. Of course, as any fule kno’, Haken have a wonderful vocalist in the form of Ross Jennings who can sing, and has a superb voice, perfect for the light and the soft that peppers their sound.
Another arsenal in their sound is the harmony vocals provided by all 5 of the other members, which is a rarity in many bands, especially bands operating in the heavier sector, and this also sets them apart. It also helps they are bloody good musicians, who manage to capture their live essence on record, and having seen them on the last tour they are amazing live, loud and complex, but amazing.
Again, on this record there is plenty of ability on show but it’s not one of those guitar wankery albums you get where it’s all skill and no soul. ‘Vector’ is chock full of emotion and soul, and is superb evolution of their sound from ‘Affinity’, true musical progression in the original dictionary definition of the word.
Across these seven tracks Haken wring out every ounce of emotion from their performance and put together a sublime album in doing so.
Tracks like The Good Doctor and, my personal favourite, Puzzle Box incorporate more of the electronic and keyboard sounds that hung over from Affinity whilst not losing any of their power. Diego Tejeda and Richard Henshall put together a formidable onslaught, whilst Henshall and Charles Griffiths on guitar remind me of that other fantastic musical duo of Matt Stevens and Steve Cleaton from TFATD, both pairings are guitarists with plenty of skill and the intuitive ability to bounce off each other, but more, much more than that, they play with heart and soul. That is what so many technical shredders are missing, the best music has soul and emotion and without that you’ve got nothing.
Veil is the centrepiece to this album and it is epic, a real masterclass in how to mix light and shade. The way Haken go about things, with their sound anchored by bassist Conner Green and drummer Raymond Hearne, remind me very much of Iron Maiden in their ethos. A band who are not afraid to rock out and turn it up where necessary but how have both the skill and the ambition to tackle the big concepts and pull them off in style.
In fact, across this album there’s no bad track, some wonderful symphonic sounds on A Cell Divides, the opener Clear and the brilliantly enigmatic The Good Doctor, all of which set the pace and the tone of the album, and the overriding concept, which has elements of psychoanalysis and deeper meanings to the title.
The band themselves say there’s a concept, but the meanings are there to be deciphered by the fans, unwrapping the Puzzle box if you like. However you see it though, you cannot deny that Haken are one of the most interesting and exciting bands currently making music and, as for where they sit genre wise, who cares?
They have made a sublime album that takes the building blocks from their previous albums, with nods right back to the debut, and still manage to push their sound on and create something that is new, that is vibrant and that is nothing other than what it is.
What a joy to be able to write about bands like Haken on today’s scene.
“The darkness of the ultimate light is better than the lights of the ultimate darkness.”
― Mohsin Ali Shaukat
One cannot truly appreciate the light unless one has first walked in the dark. We talk of the light at the end of the tunnel, you see this through the dark and it is the ultimate goal, you must, however, travel through the dark to reach the light.
The tragedy that befell in February 2016 called into question the very existence of Riverside. The co-founder and guitarist of the band, Piotr Grudziński, died suddenly just before his 41st birthday. The band cancelled all the concerts planned for that year and dedicated the album “Eye of the Soundscape”, released in September 2016, to their late friend.
To begin a new chapter of Riverside, they would have to record an album from the point of view of someone bereft, someone who has survived a tragedy. The fact that the album would be recorded without their guitarist might result in having to experiment musically a little more than usual but, most of all, it might translate into deeper symbolism and carry a more profound meaning. “I had a feeling we would be alright and we could make something beautiful and exceptional,” recalls vocalist and main composer Mariusz Duda.
In the spring of 2017, Riverside resumed playing live. During the “Towards the Blue Horizon” tour the band were joined on stage by Maciej Meller who officially joined RIVERSIDE as their live guitarist. Why has he not become the official fourth member of the band? “It’s not so simple,” Duda explains, “To catch up with 15 years takes time. I love Maciej but everything has to have its place and time. For now we are a quartet only live.”
So that band is coming back this year with their seventh studio album called “Wasteland”, recorded as a trio: Mariusz Duda – vocals, guitars and basses, Piotr Kozieradzki – drums and Michał Łapaj – keyboards and Hammond organ.
The band entered the recording studio in December 2017 and Duda assumed the duties of the band’s guitarist. “We recorded a demo. It turned out alright and we had come to the conclusion that I would manage to play all the rhythmic parts, all the melodies and some of the solos. Naturally, to enhance the sound of the album, we left some space for guests.”
And so on the new album, you can hear a few guitar solos by Maciej Meller, as well as one by Mateusz Owczarek, a young, talented guitarist, who played with the band during their Warsaw memorial concert for Piotr. For the first time in their music, there are also violins played by Michał Jelonek.
Touted by the band as the spiritual successor to ‘Second Life Syndrome’, the new album is a much heavier and emotive proposition than fan favourite ‘Love, Fear and the Time Machine’. From the opening strains of Duda’s a-cappella vocals on The Day After and the segue into the sparse, industrial riff of Acid Rain, this is immediately apparent. An underlying feel of apprehension and darkness takes over the first few tracks on the album, for an album whose theme is attempting to survive in a world after the Apocalypse this is, perhaps, quite understandable.
This opening may surprise long term fans but it is superbly well crafted and delivered music that seeks to find a way through an increasingly turbulent world full of new divisions and conflicts. The closing couple of minutes of Acid Rain seem to bring a feeling of light and hope but that is immediately dashed by the granite heavy, staccato riff that delivers Vale of Tears onto an unsuspecting world. A powerful and imposing track that is delivered in one serious and heavy manner. So far ‘Wasteland’ and its predecessor are proving to be polar opposites.
The symbolism of the album refers not only to the post-apocalyptic visions of the world, but also to the death of Piotr Grudziński, to the band’s attempt to find themselves in new circumstances. The wistfully heartbreaking Guardian Angel with its understated vocals and delicate piano and guitar is calmness personified among the dark, post-apocalyptic feel of the earlier tracks. There’s a melancholy feel and a longing at its heart that brings a lump to your throat, a sepia tinged look back in time perhaps?
The elegant acoustic guitar that opens Lament gives no indication of what is to follow, Duda’s keening vocal heralds the entrance of the heaviest riff on the album so far, one that Mikael Åkerfeldt would have been proud of. A song that will inevitably draw comparisons with Opeth (well, I’ve done it!!) with its spacious and melodious verse and thunderous chorus. It’s the song on the album that really hits home with me, emotionally and musically, and Mariusz Duda’s solo just bleeds passion.
There’s a slight change in feel on the album as we head into the ying and yang of the 9 minute-plus instrumental The Struggle For Survival, a feel of the fight to pull away from the hold of the darkness and fight to get to the light. An invigorating first half where Duda’s bass line orchestrates proceedings with a deftness of touch is replaced by the more frantic and chaotic guitar and keyboard heavy second part where Łapaj comes to the fore. The graceful River Down Below sees the seeker getting closer to the light but there’s still a slightly forlorn edge to the music and a fragility to the vocal, a touching and truly moving song that wears its heart on its sleeve.
Title track Wasteland has a world-weary aura, a feel of an ending to a journey of extreme hardship but also one of hard fought knowledge collected along the way. The song drifts along with a lightness of being that can only come from the triumph over adversity. There’s a break into a frenzied instrumental section that fights to overcome the calm before sanity finally regains control. This gives an epic and cinematic feel to the song, an allegory of the fight between darkness and light which has been at the crux of the whole album. For me, the best is saved till last, the wonderful The Night Before where the sparsity of just piano and vocals gives humanity and reality to the song. It’s sublime, almost intangible grace seeps into your very soul until the song finishes and all is left is the vacuum of total silence.
Simply put ‘Wasteland’ is two things, a triumph of the light over the dark and a fitting tribute to Piotr. A compelling and engrossing musical journey through darkness, grief and loss to emerge into the light. A spiritual catharsis that sees a new chapter in the life of Riverside and puts them back at the forefront where they truly belong.
“If you want to experience a deep journey into sound, ATME is a band you are looking for.”
Well, that’s quite a strapline isn’t it? Definitely enough to get me intrigued but, first, more about Poland’s ATME from the Press Release:
“ATME was founded in 2011 in Wrocław, Poland. The band consists of four friends and integrated personalities crafting their own musical language mostly by improvisation during rehearsals and concerts.
“We like to leave our comfort zones in search of our own unique sound and character, the best way is by putting ourselves in a state of being here and now and just letting the music flow through us” – states ATME’s guitarist Piotr Guliński.
The stories behind their songs are the result of observation of the world and people. Lyrics discuss issues concerning the existence, spiritual development and psychology of the human mind.
“Music needs to be alive, to interact with us, people and the world around us, it needs to breathe” – says vocalist Luke Pawełoszek.”
Along with Piotr and Luke, ATME’s line up is completed by Adrian Nejman – bass and Paweł Zborowski – drums & percussion. ATME’s sound can be associated with some of the works from bands like Tool, Led Zeppelin, Budgie, Opeth, Mastodon, Perfect Circle or Faith No More, while still maintaining an identity of their own.
So, big shoes to step in but step into them they do. The band’s debut release ‘State of Necessity’ is a dark and powerful statement of intent shot through with some quite beautiful moments of light and lucidity. There is a touch of jazz to opening tracks Worthy of Pity and Pleasure Box that does give a feel of Faith No More to the music, if Faith No More had spent a few days locked in a dark dungeon with Satan himself that is.
For this is a very dark album in places, deliciously dark in fact, the guitar riffs feel like they have come from the darkest recesses of the Earth and the obsidian drumbeat is hewn out of solid rock. There’s no comfort zone here, just the stylish, raw musical sound of a band crafting their own musical language and forging their own unique sound. Be it the grunge-heavy groove of the fabulous Trickster or the hard-rock-fest of the riotous ten minutes of Interrupted Call, like Led Zep on some serious acid, this band have crafted some seriously impressive tracks.
Through it all Luke’s impressively world weary and gravelly vocal drives things along, accompanied by that superb sound from Piotr’s memorable guitar and the truly heavy rhythm section of Adrian and Pawel. There are rare moments of calm within this thunderous musical storm of an album, moments that concentrate your thoughts on what is coming next, Pecto Dril, which will rock you like the proverbial hurricane, or (un)cut Thoughts with its more cerebral moments, either is a force of nature.
The album closes with the monster Hotel of the Transfiguration, a near ten minute journey into the soul of the beast and one of the best prog metal/hard rock/grunge tracks you’ll hear this year, this truly is the primeval sound of the earth at its elemental core.
Well, if you want a complete heavy mind-f*ck of an album that will, literally, blow you away but one that is full of intelligence and incisive songwriting then you need look no further than ATME’s brilliant debut ‘State of Necessity’.
IMAGES AND WORDS BEHIND PROG’S MOST CELEBRATED ALBUMS 1990-2016
Well known and respected within progressive music circles as the man behind The Prog Report, Roie Avin has worked with various labels and rock and prog artists over a 20 year career in the music business.
This new book looks into the stories behind the best prog albums from 1990-2016, eschewing the classic prog bands who made their name through the ’60’s, ’70’s and ’80’s, like Yes, Rush and Pink Floyd. As Roie says in the introduction, “Prog didn’t fall off the cliff after getting Close To The Edge, it continued on the Bridge Across Forever.”
A mighty tome of coffee table reading size, ‘Essential Modern Progressive Rock Albums’ looks in-depth at how these albums came about with exclusive interviews from the artists involved and the requisite amount of glossy pictures.
A comprehensive guide to over 50 albums that shines a light on such gems as Queensrÿche’s 1990 release ‘Empire’ that opens the book and ‘Whirlwind’, the 2009 epic from Transatlantic to Big Big Train’s legendary 2013 album ‘English Electric: Full Power’ and ‘Similitude of a Dream’, Neal Morse’s brilliant 2016 retelling of A Pilgrim’s Progress that closes things out. Roie has a genuine affection for the music and the artists who released it and this comes across in his intelligent, and warm writing style.
With a seemingly inexhaustible supply of encyclopediatic knowledge, Roie devotes a chapter to each album with a well written introduction leading into the main description, there seems to be nothing that this man doesn’t know about his subject.
There’s some albums in there that I have never touched on but now will and also some of my favourite records that will gain a new lease of life due to Roie’s enthusiastic and descriptive words, albums such as ‘Milliontown’ from Frost* and Porcupine Tree’s‘Fear of a Blank Planet’, this engrossing guide brings the history behind the music to the fore.
Yes, there are some albums that don’t make the guide that, in other people’s opinion, maybe should have but there is so much in-depth material here that you will be dipping in and out for many years to come. And, for the music nerd, there is an extensive knowledge base for you to play one upmanship with your fellow music loving friends.
What you have here is exactly what Roie has set out to deliver, the essential guide to modern progressive rock albums and it is an entertaining and engrossing read that you will enjoy for a long time to come.