Category: Reviews

Review – Virgil & Steve Howe – Nexus – by James R. Turner

Nexus: noun 1) a connection or series of connections linking two or more things, 2) a central or focal point.

Now I don’t normally start reviews with quotes from the dictionary, but it seemed apt here to draw the music to the title, thoughts which I shall return to.

I have always been a great believer that those musicians who are flesh and blood, kith and kin have a unique bond that no musician in band can ever emulate.

Siblings like the Everley Brothers, the Wilson brothers from the Beach Boys, and then familial musical units like the mercurial Waterson:Carthy (father Martin Carthy, mother Norma Waterson and daughter Eliza Carthy) or the majestic Thompson family, Richard and former wife Linda at the top with son Teddy, daughters Muna and Kami and grandson Jack Hobbs, not necessarily proof that the families who play together stay together, but proof of an intrinsic knowledge and interplay that is based far more on the gene than the group.

Again heading closer to home, having seen Rick and Adam Wakeman together in action, familial musicians can second guess the other, there’s a shared bond, a shared connection and a lot of soul going into collaborating together, and it reflects in the tightness of the music played, and the enjoyment the listener gets from hearing it.

Sadly on this album, the joy of the playing, and the magic contained within is bittersweet, as most of you will be aware that multi-instrumentalist Virgil Howe sadly passed away on 11th September, so this album stands as full stop instead of a new chapter, a story ending.

This fact does colour the perception of the record sadly, and the overall feeling throughout is one of loss, not from the music, which I’ll come onto later, but the loss of one hell of a talented individual with so much more to contribute. (he was 41 years old, just short of 2 years older than me when he passed away, brings your own mortality into sharp contrast). The Howe family could, in their grief over such a massive loss, sat on this album, and it’s to their credit that they are letting this album out as planned, as a perfect musical tribute to a beloved son, brother and it goes without saying that all of our thoughts are with them during their time of grief.

Virgil Howe first came to my attention back in 2003 when he gave some of the Yes back catalogue an inspired overhaul on the ‘Yes Remixes’ album, which, after ‘Open Your Eyes’ is probably the most divisive Yes release. I thought it was bloody marvellous how he’d taken older songs and put a fresh spin on them with style and without losing any of the original charm.

As a drummer, which is how he plied his trade, he was ever present in Little Barrie and also for the FSOL Amourphous Androgynous tour, working with artists as diverse as his father and the Pet Shop Boys as well as forging as big a reputation as his father, but in a completely different musical sphere.

Here, ‘Nexus’ is the meeting of two musical minds, where Steve Howe lets his guitar doing all the talking (performing on acoustic/electric and steel guitars) and Virgil does everything else (keyboard,piano, synth, bass and drums) in the press release for this record Steve states that “We started to work together in 2016 by selecting about nine tunes from his ‘stockpile’ of piano based music that he’d periodically sent Jan & I each time he’d written and recorded a new idea. I began adding guitars to them, then I’d play them to Virgil. He’d then surprise me by bringing up other channels of instrumentation which I’d never heard. The tunes went from straightforward ‘duets’ to something bigger & better, more of a complete picture than a mere shape.”

This inventive playfulness is at the heart of this record, and being a canny musician and producer Virgil is well aware that when you have Steve Howe playing guitars you don’t mess about.

The opener and title track eases us straight in with some of that instantly recognizable guitar work, before Virgil cleverly builds the song around it, his piano work providing a brilliant counterpoint to the guitar as both soar until all that is stripped away leaving a sublime Howe guitar solo and drum beat, that builds into a shimmering climax.

Hidden Planet flips it on it’s head being all skittering beats, descending piano chords and elements of drum and bass sneaking in, showing Virgil’s background, as amidst the funk he weaves through some astonishing guitar work, that just fits perfectly.

There are examples of both of their musical abilities that shine throughout this album, the haunting piano and guitar duet on Leaving Aurora for instance or the heartbreaking musical poignancy in Nick’s Star (a tribute from Virgil to his best friend Nick Hirsh who had passed away). Astral Plane comes closest to the most traditionally progressive sound on here, an instrumental of the sort that would fit on any Yes album of the last 20 years, whilst Infinite Space is an absolute belter of a song, encapsulating the album into one 2 minute piece.

There isn’t a bad track on this all instrumental album, and what Virgil ever so carefully, and cleverly does, is take the best of his Steves guitar work (which is exemplary here, he is sounding relaxed, sounding powerful and above all, sounding like he is having an absolute blast) whilst doing something ever so slightly different with what you would expect.

This twist moves this away from the traditional prog sound that you would expect from Steve, and into new, and exciting territory.

As a complete record it brings both generations together, pulling Steve’s experience as one of prog’s finest guitarists, and Virgil’s experience as a contemporary rock drummer and skilled DJ into one coherent whole, where the contradictory styles create a well produced and performed musical concept. It’s spans generations, genres and disciplines to create an album that is as timeless as it is genre-less, and that is Virgil’s skill on here, he coaxes the best out of Steve, and then sympathetically and cleverly works round the riffs to create musical duets, taking the guitar lines as living breathing things to be shaped and moulded. Which is why it works so well on so many levels, he’s not taking Steve’s work as sacrosant and not playing with it, however there’s also that familial intuition at work, where he knows instinctively what will work well where, and it shows both of them, world class musicians at the top of their game.

This album could have worked as the start of fruitful and exciting familial collaboration (would have been really interesting to see Virgil, Steve and Dylan Howe working together) but sadly it isn’t to be. Instead this diamond of a release is one to be celebrated and enjoyed as a living breathing record, performed by a Father and Son who sound like they are taking great delight in doing what both of them do best, and that is how we should enjoy it, as a celebration of life, of art and of the power of music to unite us in both sorrow and joy.

Released 17th November 2017

Order ‘Nexus’ from InsideOut Music

 

 

Review – The Winterlings – American Son – by Progradar

Music touches us, affects us and moves us every day. It doesn’t have to be up-beat cheerful music to make us happy and mournful, sorrowful songs won’t always make you sad. Music has a beauty and grace however it is sung and played.

I’ve been listening to the fourth album from American roots and folk duo The Winterlings and, it must be said, ‘American Son’ is not a release full of mirth and frivolity, it’s a collection of songs from the heart, delivered with honesty and sincerity and one that will move you on a most personal level.

Wolff Bowden grew up in a house on stilts, fifteen feet above a Florida swamp. In Wolff’s dreams it was always winter, stood beside a bonfire, singing to half-animal, half human beings called Winterlings. Two decades later they had come to symbolise life’s deepest callings and he abandoned medical school for visual art.

Around the same time Amanda Birdsall was working on a doctorate in psychology when she looked down to find her notebook full of song lyrics. Walking out of class, she grabbed her guitar and drove to Canada to work on organic farms in exchange for food and tiny rooms to write songs by candlelight.

After meeting at a Buddhist fire ritual, Wolff and Amanda drove from Florida to the Pacific Northwest where they soaked up seven years of rain to give birth to over fifty songs. Singing from the depths of the American wilderness, The Winterlings shine their literary lyrics on subjects ranging from trangender Civil War soldier Jenny Hodgers to a friend’s lung transplant…and the life story of a housefly.

‘American Son’ is an intense experience from start to finish, opening track The Ghost of Leonard resulted from Wolff being visited by the ghost of Leonard Cohen while deep in meditation and it is quite a dark and yet deeply moving song with Wolff’s deep vocals reminiscent of the great man himself. Mournful and fragile, accompanied by the ethereal beauty of the violin and acoustic guitar, it is incredibly poignant and left a rather large lump in my throat. Title track American Son is songwriting at its basic and very best with an addictive chorus and a feeling of regret running throughout. The sparse instrumentation is the backdrop on which Wolff’s distinctive vocal weaves its story, Amanda adding her more lustrous voice in a great harmony.

Gold has a feel of the Old West to it with the opening languid harmonica and Amanda’s vocal brings in a real 70’s folk feel. Wistful and nostalgic at heart, there’s an unhurried frankness to the song. The easygoing guitar brings your pulse rate down and a calmness and composure envelops your very being. There is a sombre grace to both Birthplace and The Dead, imbued by Wolff’s excellent voice and the basic grace of the music. Touching and sentimental, these songs really get to you on a personal level, I find myself stopping whatever it is I’m doing and just listening. They are captivating and bewitching and the ability of Wolff and Amanda to hold you in their spell is incredible.

There’s more of a lighthearted feel to Owl Mountain with it’s childlike charm and innocence. Amanda’s voice is a great counterpoint for Wolff’s more earnest and austere delivery and the sparsity of the instrumentation works perfectly. With a feeling of regret and loss, Puget Sound really tugs at your heartstrings with its raw heartache and yet it really touches you with its candid sincerity, you can’t help but become caught up in the story that is being laid out before you.

Sunspeech takes the allure of a simple acoustic guitar and Amanda’s wonderful vocal to give you a song that seems to be able to cleanse your soul. The plaintive strains of the harmonica add a real wistful, sepia tinged atmosphere to this absorbing piece of music and a touch of sadness fell over me when it came to a close. Wolff’s vocal has a rueful almost remorseful edge as he sings the opening lines of World To Change, there’s a feeling of restful change about the lyrics, “We won’t wait for the world to change…”. A plea to the world to change before it’s too late. That Was Alaska closes out the album on a thoughtful and reflective note and ,as the last note is played, I realise I’ve been at the centre of an utterly inspiring and satisfying musical journey.

With ‘American Son’ melancholy and wistfulness have never been so beautiful. A beguiling and entrancing musical journey through love, loss and regret where you feel every high and every low. The Winterlings have delivered a superb collection of songs that will stay with me for a very long time.

Released 1st November 2017 in the UK.

Order ‘American Son’ direct from The Winterlings store here

 

  

Review – The Novel Ideas – s/t – by Progradar

Ever since I met Iain Sloan and was introduced to the Americana of The Wynntown Marshals I have been hooked on that sound and the heartache and melancholia of love-and-loss that is at the heart of country-folk. Music that tugs at your heartstrings, there’s nothing more wonderfully emotive than a well played lap or pedal steel guitar in my opinion!

The next release from Loudon Temple at Bloody Great PR that I’m investigating falls slap bang in the middle of that territory, the self-titled release from Boston, Massachusetts country-folk quartet The Novel Ideas. Incredibly plaintive 4- part vocal harmonies and that blend of pedal steel, guitar, fiddle and organ which produces such a distinctive and American sound.

Four friends – Sarah Grella (vocals), Danny Hoshino (guitar, pedal steel, vocals), James Parkington (bass, vocals) and Daniel Radin (guitar, vocals) – who contrive to convey honesty and intimacy through their music. Capturing the renowned spirit of their live performance in recorded from was a challenge, but the result is a heartfelt representation of who The Novel Ideas are.

There’s a real feel of love and longing at the core of The Novel Ideas and it produces a sound that is utterly addictive. The vocal harmonies are at the entre of the band’s unique sound and they imbue everything with a dignified and refined grace. Wistful nostalgia and melancholy are at the heart of songs like opener I’m Not Waiting and the tone of the pedal steel guitar is full of longing and sentiment.

The great fiddle playing of Eva Walsh adds country polish to I’ll Try, a touching song that speaks of regret and loss and the vocal harmonies take centre stage on the pastoral Americana of Old Ways. This record is an immersive musical epxerience and you find yourself becoming more and more involved in the stories of small town America, the beauty and fragility of  Broken Glass is superb, a song that tugs at every single one of your heartstrings and will produce a lump in your throat with its ethereal grace.

Music that speaks of broken hearts and the ending of life’s journeys but that does so with sympathy and compassion, the mournful grace of Sarah Grella’s vocals really stands out on Lost On The Road but it is when the four-part vocal harmonies take centre stage that this refined quartet are at their absolute best. Take the wonderful The Blue Between Us, here the vocals are used as an extra instrument to give one of the best tracks on the album and Danny give sone of his best performances on the pedal steel, there’s something heartwarming about the music that The Novel Ideas create and while its themes might be regret and loss, there is always the hope that love will be our saviour.

The warmth and humility of the music shines through on Farm which has a more straightforward country sound to it, although elegantly polished, again Danny’s pedal steel stands out, this time accompanied by the sublime fiddle playing of Eva Walsh. Additional kudos must be given to the fantastic drumming and percussion of  Elena Bonomo and the piano and organ skills of John Waynelovich throughout the album. The calm unflustered grace of Dena is another standout track, the dignified, melancholic vocals accompanied by the captivating music that soars above you, its feels like a sad song but it is sadness tempered by real beauty.

Every song leaves its mark on your heart and your soul, Calling You Out  and Mountain are both incredibly heartfelt pieces of music that hit you on a basic emotional level, grace, beauty and elegance combined in a simple musical package. Incredibly accomplished musicians who can wonderful write songs of love, loss, grief and joy that interact with you and your emotions perfectly, the album closes with the simple brilliance of the spiritual I Was Not Around. It’s a bittersweet poignant song whose fragile grace is tempered by the feeling of loss and sorrow. An emotive track to close out an album of emotional highs and lows.

Such an emotional rollercoaster, The Novel Ideas have created a beautiful collection of songs that hit you hard on a basic emotional level. Incredible musicians as well as highly accomplished musicians, Americana and country-folk has never been more appealing.

Released 1st November 2017 in the UK.

Buy The Novel ideas direct from the band here

 

 

 

 

Review – The 4 Of Us – Sugar Island – by Progradar

Discovering new music is an incredible journey that has become an important part of my life. There is a massive seam of untapped material out there and I can mine just a little so when I get a message from a PR company I’ve never dealt with before, asking if I’d be interested in their releases, my curiosity is mightily piqued.

That message came from Loudon Temple of Bloody Great PR and, true to his word, a week later a large envelope arrived with a selection of new releases. The first one that I picked from the pile was from Northern Irish artist The 4 Of Us and their new release ‘Sugar Island’.

This is music I’ve never heard or heard of before so I am embarking an a real musical voyage of discovery. Formed by Newry-born brothers Brendan and Declan Murphy, they have developed a strong musical identity which has produced original and award winning recordings, as well as a large and loyal fan base.

The 4 Of Us shot to fame with their 1989 debut ‘Songs For The Tempted’ and, to date, the Murphy brothers have notched up an enviable catalogue of timeless songs, including 6 Top 20 Irish charting albums.

‘Sugar Island’ is their seventh studio release and explores the brothers’ early years growing up in Northern Ireland and includes tracks reflecting on their childhood, in and around a border town during the height of the troubles.

Mainly focusing on the trademark interplay of their acoustic guitars, the brothers have also worked with a few gifted musicians to fulfil their vision. Enda Walsh, Sharon Vaughn, Peter McKinney and Yvonee Fahy all helped to bring this recording to life.

(Picture by Will Rolls)

I have to admit to being blown away from the very first song, pop/folk roots music which is played with consummate skill. Bird’s Eye View opens the autobiographical release with aplomb. There’s a wistful and nostalgic feel that runs throughout the album, the lyrics are incredibly perceptive as you would expect from two musicians who lived through the worst of the Northern Irish troubles. The pared back acoustic simplicity of the Murphy’s two guitars borders on genius.

The vocal harmonies are note perfect and add even more of  polished sheen to the superb music. There’s something incredibly compelling about the simplicity of the arrangements and their melodic accomplishment which often verges on American roots music. I was a big fan of Chris Stills (son of legend Steven) first solo album and these guys really remind me of the flair and intimacy of that release.

There seems to be rose-tinted memories of those early days as the whole album has a reel feelgood and sentimental aura to it. Highlights for this reviewer (as well as the opener) are the incredibly emotive Going South, the title track Sugar Island, the raw, sparse and touching Argenta and refined closer Hometown On The Border but there are no bad tracks on this elegant release.

‘Sugar Island’ is a collection of beautifully refined songs that tell the story of Declan and Brendan’s formative years where they grew up among adversity and a nation divided and at war and it feels like a privilege to be invited to relive it with them once again. Music full of longing, regret and yet an album that leaves you with hope in your heart.

Released 20th August 2017.

Buy ‘Sugar Island’ direct from The 4 Of Us here

 

Review – The Emerald Dawn – Visions – by James R. Turner

This is the 2nd album from the St Ives based prog quartet and I admit I was a little lax in getting round to reviewing this, as the album has been out since August, and as is often the way with those of us who have day jobs and hectic lives, time often gets the better of us.

This album is a beautifully contructed 4 parter, clocking at 45 minutes, which to a child of the 80’s & 90’s like what I am, is perfect length, one side of a C90 tape, ideal for the bus. Job done.

Their sound is very much widescreen expansive prog, and this album is a real grower, there are some amazing musical pieces that hit you the first time round, but it’s when you listen more, there is so much more going musically that it grabs you and continues to grab you as you play it.

Starting with the 20 minute opus Musique Noire, this is an fantastically wonderful slow burner of a track, that to these hears has echoes of Pink Floyd’s Shine on You Crazy Diamond track, maybe it’s Ally Carters wonderful sax that runs through the piece like Bridlington runs through rock, or the keyboard and piano work of Tree Stewart that is both symphonic and intimate, whilst her vocals throughout are sublime.

The band as whole, with Jayjay Quick providing not just bass, but also cello and violin, Tom Jackson on drums and Ally and Tree also providing guitars and violins, means their musical palette is a wide one to draw from, and adds to the complexity and musical layers the run through this album.

As Musique Noire builds to it’s fantastic climax there are some sublime languid solos, and the piece is a fantastically bold way to open an album, and is a statement of intent from the band.

A Vision Left Unseen, is a more gothic noir kind of track, the vocal counterpoint between Ally and Tree on here, and the slightly darker edge is fantastic, again running at 7 minutes it’s the shortest song on here, and still packs more musical and emotional clout that some bands fit into an album.

Waves, is a fantastic piece of guitar driven music, with some absolutely sublime soloing, whilst Tree puts her stunning vocal range to great use, over some heavily symphonic synth sounds that have echoes of classic Moody Blues or Strawbs epics, again not so much influenced by, but more evoking a mood that those bands operate in.

The closing 9 minuter Stranger in a Strange Land, is all shimmering synths, and slow build as it starts until an absolute belter of guitar solo kicks in, before it pares right back down to some stunning flute and violin interplay, the way the band blend the sounds together to create songs like this are a joy to listen to, and closes a mighty fine album with style and grace.

In this genre it’s hard not to reference bands, and The Emerald Dawn are very much their own beast, and the sound this album pulls together makes a shoe in for any record collector who likes their prog widescreen, their sound epic, and their musicianship taut and on point throughout.

The performances on here are exemplorary and the production is sublime as well, it’s so often you hear bands who are self financing, and they have the songs and musical chops but lack a sympathetic producer who knows how to get the best sound out of the album, luckily being produced by Ally and Tree who also wrote the songs, they have a specific vision of how they want their music to sound, and how to present it, which is carried throughout from artwork, to lyrics, to sound and production and they should rightly be proud of this record.

Released 21st August 2017

Buy ‘Visions’ from bandcamp

Review – no-man – Returning Jesus re-issue – by James R. Turner

A long awaited welcome re-issue from the 4th album by the No-Man pairing of Tim Bowness and Steven Wilson, ‘Returning Jesus’ was the follow up to 1996’s ‘Wild Opera’, and was originally released in 2001, which was quite a big gap for the group, due to Steven Wilson’s profile raised somewhat by the success of Porcupine Tree no doubt.

Fully remastered and expanded to a double disc set, including a new remaster by Steven Wilson of the album, and plenty of b-sides, EP material and unreleased tracks, this is the definitive edition you might say.

As a connoisseur of remastered products, particularly those where Steven Wilson has been given a free hand, it’s a little disappointing that there isn’t a 5.1 mix, as No-Man records are perfect for 5.1 (the mix on ‘Together We’re Stronger’ for instance is sublime) still, that’s my only quibble with the reissuing, and as ever it should always be about the music and not the medium.

It’s hard to talk about ‘Returning Jesus’, as I tried it once but didn’t have the receipt, so Jesus is now living in my cupboard, still it’s nearly his birthday so I might get him out then…

I digress, the music maketh the album, and this is an excellent example of the collaborative skills of Bowness & Wilson, I have long stated the opinion that Tim Bowness is one of the finest vocalists around today, and having seen him perform with Henry Fool and his own solo shows, I can without a doubt keep repeating that opinion without fear of contradiction. Here, the beautifully haunting low key, almost minimalism of the opener Only Rain (which features performances from guests like Ben Christopher (guitar) the late Ian Carr (on plaintive trumpet) and David Kosten (synths) is the perfect symbiosis of Bowness’ vocals and Wilson’s music, the slow build and the evocative imagery is sublime.

The hauntingly wistful No Defence is one of those song stories that Tim specialises in lyrically and with some wonderful trumpet from Ian Dixon, it is another one of those wonderful No-Man songs that could be from a soundtrack.

In fact No-Man specialise in making movies using music, and these albums with their evocative lyrics and sublime widescreen performances transcend the normal, and take music into a different stratosphere.

(Both pictures of Steven and Tim by Carl Glover)

I adore the work of No-Man, and love the trilogy of albums that Tim has done recently, however I understand that this kind of music is very much mood music, you have to be in the right space mentally and emotionally to listen to No-Man, and bittersuite slow burners that grow like Close Your Eyes (8 minutes long on the main event, 7 minutes on the EP version from 1998 included here in the bonus tracks) is one of those heartwrenching songs that will either have you sobbing with the melancholy, or fill you with some kind of uplifting joy, and the guitar solo in there is an absolute belter by the way.

Music like this from No-Man seems to grow organically, and the length of the tracks show this, the shortest Slow it All Down being cut from the 5 minute demo on the 2nd disc to a 3:43 song on the actual album. I know some people think bonus tracks that weren’t originally released , were unreleased for a reason, but as an anorak I do like hearing demos and seeing how the final piece ended, it gives an interesting insight into the songwriting process, and whilst for some it’s the equivalent of breaking the 4th wall, for others it’s a part of the process we don’t always see, and I don’t see it as breaking the spell, for that reason the 5 demos on disc 2 are an interesting place to visit.

The fact that only 2 songs clock in at under 5 minutes shows how the music on this album grows into itself, there’s plenty of soft sounds and spaces that give the music room to live and breathe, and is very much a fantastic example of where less is more.

The star of the record is undoubtedly Tim Bowness’ vocals, and Steven Wilson sensibly allows the music to build around these, and on this album (and their others) the lyrics are as important as the music, and lets face it, when you are making an album with Tim Bowness singing, you don’t want to drown his voice out in a sea of instrumentation do you?

Carolina Skeletons, with its wonderfully evocative title, it’s laid back groove and it’s reprise (Carolina Reprise on disc 2) is one of the standout songs on the album, and showcases all that is good about No-Man.

Returning Jesus, the title track is full of low fi percussion, bubbling electronica and metronomic beats that skitter and pulse, whilst Tim’s voice again pulls the song together, one of the more experimental tracks on the album, it seems to fit the flow, despite it jarring slightly in parts.

The fantastic Lighthouse, features guests like Theo Travis and Colin Edwin, whilst Steve Jansen (who drums throughout) out does himself here. The track builds and grows into an absolute treat throughout, foreshadowing Tim’s later solo work, and work with Henry Fool.

This album ebbs and flows throughout with sublime musical work, and Tim’s fantastic vocals, and I have always found that people either love No-Man or have never heard of them, this re-issue is an excellent place to dip your toe in if your new to the band, and as a long time fan, is a fantastic addition to the catalogue.

Released 3rd November 2017

Order ‘Returning Jesus’ from Burning Shed here

Review – Hats Off Gentlemen It’s Adequate – Broken But Still Standing – By Progradar

A brooding, damaged cube, like something from The Borg of Star Trek fame, mysterious and enigmatic, a lone, shadowy figure walking towards it. I’ve long been a fan of great album art and the cover of the new album from UK Art/Prog rockers Hats Off Gentlemen It’s Adequate is another one that really caught my eye.

Cryptic and original, like all the best album art, it really does invite you to wonder about the music behind it and knowing what this imaginative and inventive set of musicians are really capable of, I was very intrigued to find out more about ‘Broken But Still Standing’.

Hats Off Gentlemen It’s Adequate are Malcolm Galloway, on his own, or with his colleagues Kathryn Thomas (flute), Mark Gatland (bass), Rudy Burrell (drums) and Ibon Bilboa (guitar). They are based in London, UK.

Malcolm and Mark have been playing together since they were at school. Malcolm and Kathryn are married. This album also includes spoken word and backing vocals from their children James and Ethan Galloway, and James co-wrote two of the tracks.

Their music combines progressive rock, classic rock, acoustic, blues, metal, folk, funk, minimalism, and electronica and often explores scientific and philosophical themes.

‘Broken But Still Standing’, Hats Off Gentlemen It’s Adequate’s third album, is a science/science-fiction themed concept album. It follows the story of human evolution, from LUCA, the last universal common ancestor of all current life on earth, via Lucy, one of the possible precursors of our species, to conflict and eventual symbiosis with artificial intelligences. The general theme of the album is that life has progressed by forming coalitions, whether between the primitive cells that engulfed each other to become the cell and the mitochondria (the power stations of the cell), between individuals to form communities, or between different forms of life in the future.

This band really know how to deliver a seriously complex and yet ultimately rewarding concept album, this is what I had to say about their previous release ‘When The Kill Code Fails’,

“I love it when new music lands on my desk with no fanfare or previous knowledge. Hats Off Gentlemen It’s Adequate may have a brilliant name but they also produce excellent music. Sometimes progressive, sometimes more rock orientated but, overall, it is an enthralling listen.”

So, without any further ado, let’s dive in…

(Photo by Jaz Dhillon)

The opening instrumental Vent is dark and almost elemental in its low brooding delivery with the haunting flute making the hairs on the back of your neck stand up and an apprehensive feeling seep into your mind. There’s a seamless segue into the deeply atmospheric Almost Familiar with its vocals that drip with passion and longing, ethereal flute and the achingly bluesy low-down guitar. Unashamedly progressive in its outlook, it’s a slow-burning piece of musical storytelling for dark nights and open fires. Kathryn’s emotive flute solo is a piece of genius and closes out the track to perfection. There’s an alien, science fiction tone to the next two tracks, Luca to Lucy opens with an uneasy, unerringly off-kilter soundscape before the music seems to creep in like an ancient dawning of time, all measured, deliberate and low-key. An exact and infallible life force that has only one motive, to exist. Lucy sees Kathryn’s flute take centre stage on this short piece, all mysterious and enigmatic with its late night jazz feel, asking questions of the listener.

There’s nostalgia in spades about Last Man On The Moon, a wistful, almost melancholy song that gets under your skin with its elegant music and heartfelt vocals, especially the excellent harmonies between the male and female voices on the captivating chorus. Thoughtful and yet somehow forlorn, it’s a great track with a wonderfully plaintive and meandering guitar solo that leads you on a reflective musical journey. Advancing On Snailback is a trance-like ambient instrumental that gets inside your head and mesmerises you with each well considered note, Serious, discerning and meditative, it leaves you lost in thought. That reverie is broken by the edgy, almost punky guitar, drums and bass of Anywhere, Malcolm’s vocal has an angsty tone to it and the whole song seems to have discordant, uneasy feel. A short, sharp shock after the more refined and gentle feel of the first few tracks. There’s a jazz lounge aura to the opening of One Day When before the vocals begin and the energy builds to another catchy chorus, to me there’s a real vibrancy and energy that has infiltrated the music now, an addictive and harder note more akin to modern punk and alternative rock.

I love the intoxicating ambience of I Fell In Love With A Mechanical Dragon, rock infused electronica with high octane keyboards and a vibrant guitar note that combine with the urgent vocals to give one of the grin inducing highlights of the album. It does feel slightly absurd singing the chorus out loud in the middle of Morrison’s but that’s what great music does to you! The most overtly heavy track on the album, Let Me Out is dark and deliciously dangerous in its outlook. The in-your-face riffs and impassioned vocals drive the song on towards the dissonant flute solo and special mention must go to the superb drums and funky bass that are the engine room of this song. More electronica that almost verges on drum and bass underpins Under The Skin with its clever use of female spoken vocals that almost break into rap. A really inventive piece of music that makes me nod in appreciation every time I listen to it. That electronic vibe really comes to the fore on the retro grooves of Lucid Assassin. A high energy song with some rather excellent synthesisers that work on a  hard working drum and bass foundation to give a special 80’s ‘laser show’ ambience.

Broken But Still Standing Till I Fall is another hard-edge, punk rock soaked track with a take no prisoners attitude. The vocals have attitude to them and the music just rocks, especially the dynamic and vivid guitar solo, another short sharp shock to the music system. The metaphorical lights are turned down low as we segue into the melodramatic All Alone Together, the heartfelt vocals give real poignance to the song and the music adds not a little tension to proceedings. Take some 70’s jazz funk, add some 90’s Happy Mondays Madchester vibe and you’ve got Host, one of the more upbeat songs on the album. The blues-rock imbued guitar solo is worth the price of entry on its own and the restless energy of the song soon finds itself manifested in your dancing feet. Transient Stars is an intelligent instrumental with a cinematic quality to it, you could imagine this as being part of the score for a high-brow, cerebral science fiction film. An enlightened piece of music that had me musing about all sorts of unfathomable things. Things come to a close with the astute progressive rock of Close My Eyes, dextrous musicians showcasing their skills and a contemplative vocal performance culminating in the simple but eminently memorable chorus. A cultured close to  what has been an engrossing musical experience.

‘Broken But Still Standing’ is a brilliantly perceptive and original work of art that enthralls with every listen. Taken as a whole it is an utterly immersive musical experience that will captivate and enlighten the listener, Hats Off Gentlemen Its Adequate has to be one of the most creative and innovative artists out there today.

Released 7th October 2017

Find links to order ‘Broken But Still Standing’ at the band’s website here:

 

 

 

Review – Playgrounded – In Time With Gravity – by Emma Roebuck

Playgrounded is a Greek band born and forged in the heart of the financial crash post 2007 and whose first album ‘Athens’ is a narrative of Greece and a Greek youth in crisis and ultimately the European Project. They moved to Rotterdam to explore their music more, in their own words “Heavy Rock meets Electronic”, this is of course is not happy joyous music.

‘In Time With Gravity’ is 8 tracks of music but, technically, only 6 as the final track is a long form piece subdivided into 3,  The Stranger, based on the Albert Camus book of the same name which can be summarised in Camus’s own words.

“‘I only meant that the hero of my book is condemned because he does not play the game.”

I will let that dangle for a while as I explore the rest of the album and return to it later.

To begin properly at the beginning, The Crossing, the meaning of this song eludes me if I am honest. It could be a metaphor for their journey from Greece and learning to connect to a Northern European culture? It could also be a metaphor for the journey of the refugees making a similar journey or I could well off the mark. Musically it is very dark and electronic driven with an understated but definite slow grinding guitar work woven around the main themes.

Mute is a definite stand out track on this album for me. There’s big sounding and very powerful guitar work but not in a way that swamps the rest of the music. They manage to sound big and yet leave space in the music, it is a trick some of the other Prog metal bands could do with learning if I am honest. There’s an addictive guitar hook that repeats often enough to become an ear worm.

Waves, now this is to me where the band show their influences at their clearest. A song of a wasted generation lost in the turmoil of politics and chaos of the times. Playgrounded have played on the same bill as Anathema and Riverside and they are very comfortable musical bedfellows here.

In Time with Gravity is the title track and the most electronic based track on the album. I have not heard ‘Athens‘ so it could be a hangover from the past or a hint at the direction to come but it has a lighter tone and feel to it almost but not entirely optimistic in outlook. I suppose this is as close to a love song as this album has but a pop song it isn’t. Coming in at over 10 minutes long it has plenty of time to explore the themes and melody and give a few opportunities to have off-shoots and pathways to explore.

Rotterdam is obviously the band trying to express their first experiences of living in a new country and finding their feet, moving to be as close to the heart of Europe as they could to see where the music could take them. Musically the main driver here is the bass line and keyboard sequencing.

Finally we Return to The Stranger, I will be honest with you here, I only know of the book but  have never read it. Praise the internet and a cheat sheet to help me with cross referencing Camus’ book and the tracks that make up the whole piece based on that tome. In short man attends his mother’s funeral then kills someone and is then sentenced to death. The primary character, the Stranger of the piece is an outsider of the society that he inhabits and ultimately that society destroys him because he is an outsider.

Hence:

“‘ I only meant that the hero of my book is condemned because he does not play the game.”

The three parts “Funeral”, “Killing” and “Verdict” break down the story into its component parts. It expresses the film noir of the 50s French film scene very well and how the outcome of one who is outside the whole is doomed in one way or another, in this case execution by guillotine. The Cure’s ‘Killing an Arab’ is based on the same book.

I have avoided genres here as much as possible in this review as I honestly think that these guys sit apart in many ways from any specific genre or type. I have chatted with a couple of fellow DJs about it and they agree, they sit in an area of their own BUT I am going to make a few comparisons and references for people who have an interest.

Dark moody emotional and different are good words for these guys. If you have a liking for mid/ late period Anathema, NIN, some of the slow grinding Black Sabbath with added late Depeche Mode and Gary Numan for a little spice then this could be for you. If you want happy and lightness with lots of sparkling unicorns then i would suggest that you steer well clear!

I have a feeling that live these guys are far less restrained and rip it up good and proper.

Released 19th October 2017

Order ‘In Time With Gravity’ from bandcamp here

Review – Iconic Eye – Into the Light – by Progradar

“I was ten when I heard the music that ended the first phase of my life and cast me hurtling into a new horizon. Drenched to the skin, I stood on Dunoon’s pier peering seawards through diagonal rain, looking for the ferry that would take me home. There, on the everwet west coast of Scotland, I heard it: like sonic scalpels, the sounds of electric guitars sliced through the dreich weather. My body hairs pricked up, each one a willing receiver for the Thunder-God grooves. To my young ears, the sound of these amplified guitars was angelic (although, with hindsight, I don’t suppose angels play Gibson guitars at ear-bleeding volume). A voice that suggested vocal chords of polished silver soared alongside razor-sharp overdriven riffs. I knew that I was hearing the future.”
― Mark Rice, Metallic Dreams

Good rock music has always appealed to me, not that bland soft rock rubbish but music with drive and ambition that rocks into town, blows everyone away and then leaves in a blaze of glory, THAT sort of rock music! Vibrant, heavy riffs, a powerful and dynamic rhythm section and gilt-edge vocals all combine to give a listening experience that is like a shot in the arm or a musical kick up the arse.

I spend so much time listening to, and writing about progressive and alternative rock that I rarely have time to listen to good rock music apart from when I’m running and I use it as a motivational force through the headphones. However, my friend Jane Gould joined UK rock band Iconic Eye last year and they have a new album out so it would be remiss of me to not spend a bit longer with ‘Into the Light’…

Iconic Eye burst onto the rock scene in 2015 when they self-released their debut album, ‘Hidden in Plain Sight’. They leapt straight onto Jake’s Stage at that years Download festival, then on to support the Treatment at Rockingham’s Pre-party in the same year and then to Hard Rock Hell (HRH) in March 2016. A truly remarkable start! Since then the band has seen many changes and has also been struck by tragedy. However, the band refused to give up and made the bold move to become female fronted with the addition of the amazing Jane Gould. This change has lifted the existing songs and created the right environment for the band to start writing again.

The album title says it all. It contains 5 of the bands favourite songs from ‘Hidden in Plain Sight’; re-worked with Jane and Robin Mitchard (the bands new youthful lead guitarist) to the fore. Together with harder guitars from Greg Dean and a more aggressive mix, this is classic Iconic Eye, updated!

Added to these existing songs are 6 new songs, mainly written in partnership between Dean and Gould, but also with Mitchard adding to the songwriting credits on two of the songs. On the new recordings you also have ex Max Bacon and Dante Fox bassist, Michael Dagnall and on drums, Adrian Scattergood. This is Iconic Eye as it is now, and at its best.

(Jane Gould)

The album opens with two properly hard rocking tracks, Am I The One and You Make It are both edgy, fast paced and in your face, basically hard rock as it bloody well should be! Jane’s vocals are powerful and dynamic and lead the rest of the band in a merry roller coaster ride across these two energetic openers. The guitar playing is slick and dextrous with a couple of smoking hot solos from Robin Mitchard thrown in for good measure. I love the chorus on You Make It which rapidly becomes an addictive earworm and Greg Dean’s keyboard add a lush touch of AOR magic, I’m hooked already!

(Robin Mitchard)

Those Tears Won’t Last adds a huge dose of melodic melodrama to the music, soulful and full of passion with driving riffs and compelling drums. I’m detecting a touch of the legendary Anneke Van Giersbergen to Jane’s vocals, they really are that good, silky smooth but imbued with a deep seated power and fervor. The solos are coming thick and fast, each one iridescent and hard-edged and giving these tracks proper drive and direction. Jane and the band show us a sultry side with the heavily soul infused Let It Rain Down. A sensuous piano joins the vocals at the opening before the accelerator pedal is pressed and the intensity increases with a forceful riff and those all-powerful drums. Another chorus that is just asking for you to sing along with it and the emotions are just set free with the delicious guitar that closes out the track.

(Greg Dean)

Get the lighters (or mobile phones) out ready, Black Country Lady is a moving and hauntingly beautiful ballad come anthem and one that leaves a big lump in your throat. The elegant guitar and Jane’s elegantly melancholic vocals are stylish and wistful in equal measure. This is definitely going to be a live favourite and the band have the necessary chops to carry this off in any venue. It’s as good, if not better, as anything you’ll hear in the charts and is topped off with another stunning piece of guitar work from Robin and Greg, backed ably by Adrian’s drums. A funky, bluesy guitar opens Better Place, a high energy filled track that definitely treads the blues rock path and does it with aplomb. The vocals take on an Alannah Myles hue showing Jane’s versatility and downright potency. A catchy chorus and suitably fiery solo complete this punchy track.

(Michael Dagnall)

A fast paced hard rocker Black Heart has the requisite heavy riffing, influential rhythm section and in your face vocals that take you back to the height of the 80’s peak of the genre. Greg gets inventive on the keyboards and I’m kind of reminded of a female fronted Magnum around the ‘Wings of Heaven’ period. Damn these guys can write some serious hooks and songs that become downright habit forming! Bluesy, soulful, dynamic, powerful, I’m running out of words to describe this compelling and captivating group of musicians and All She Needed just carries on the superlative music experience. The riffing guitars drive the song on at a breathless pace, a really electric and intense piece of music with superb vocals that flies headlong to its guitar solo inspired close.

(Adrian Scattergood)

The pace is notched back a bit on the AOR classic Thanks For The Memories, a nostalgic track with its contemplative vocals and reflective guitar tone. Another memorable chorus and polished solo just leave me shaking my head in disbelief at how good Iconic Eye are at what they do. Jane’s tastefully emotive vocal being the final layer of class and style on this refined song. Don’t Stop Me From Leaving has a simple sadness at its core, another anthemic song that will be a sure fire live hit. Jane’s poignant voice sings of a sorrow and heartbreak that may come and the music fits the mood perfectly with the plaintive keyboards and the wishful and reflective guitar solo. The last song on the album is the enigmatic Never Get Through The Light, a proper hard rock track with a heavy touch of AOR in the guitar , drums and vocals. A compelling piece of music that never lets up, keeping you on the edge of your seat, another standout chorus and some simply superb guitar playing close the album out in suitable style.

Iconic Eye should soon be a name on everyone’s lips, a byword for sumptuous hard rock stamped with their own unique style. An outrageously talented group of musicians with one of the greatest female vocalists I’ve heard in a long time, in ‘Into the Light’ they’ve produced a rock album of rare quality from beginning to end.

Released 4th November 2017

Order ‘Into the Light’ direct from Iconic Eye here

(Featured image by Samantha Lloyd)

 

 

 

Review – Human Pyramids – Home – by James R. Turner

As ever our esteemed editor has an uncanny knack of being able to listen to the piles of albums he gets for review and then a few days later you’ll receive a message on Facebook with those immortal words ‘I reckon you’ll like this’ and, as I like a challenge and new music, I will always say ‘ping it over then’ and then usually ask for it to be re-sent as I forget to download it before the deadline runs out.

The latest of Martin’s picks that he thought would reach the parts that other records wouldn’t reach, is ‘Home’, the new album from Human Pyramids.

Brain child of Paul Russell, the Glasgow based composer from instrumental outfit Axes, this see’s him meld a chaotically brilliant fusion of orchestral arrangements, pop and electronic sensibilities, performed by a cross country collaboration 16 piece band.

Now I am a sucker for big ensemble sounds, and having heard the mighty sound that bands like the Polyphonic Spree or Bellowhead can make, that definitely got my spidey senses tingling, and with the band having performed at festivals like the End of the Road, 2000 Trees and Glastonbury, these guys have the chops to back up their ambitions, and ‘Home’ is their second release.

As an inquisitive teenager rifling through my parents record collection, and devouring anything they had that was slightly different (remember I grew up in the Britpop era where everyone sounded the same and there was nothing exciting musically happening) I discovered bands like ELO and Sky, who were using different compositional forms and sounds, and (certainly in the case of ELO) plenty of strings.

Thus I have always had a soft spot for ensembles that push beyond the four-piece sound and look to do something new and exciting.

The fact that Louise starts off with some wonderfully stirring strings and then develops into a fantastic string and brass off (again being from South Yorkshire the stirring sound of the brass band runs through my veins like Henderson’s Relish, and there is nothing more uplifting than the sound of a brass ensemble going some). So to hear the two meeting in a fantastically stirring piece that mixes a great riff and some superb musical duelling/duetting certainly drew me straight in.

Canned Thunder does exactly what it says on the tin, with an absolutely brilliant drumbeat and more of that amazing brass. Paul Russell has an amazing ear for a melody and a knack for putting the right instrumentation in the right place, he makes it sound so easy, which is why this is such a well made album.

Slush mixes piano led riffs, some subtle electronica bubbling under the surface, and slowly the rest of the ensemble seep in, those driving strings, the heart tugging brass, the wonderful countermelodies.

The press blurb describes this as a mix of punk energy fused with electronic elements and orchestral sounds. I would say this is the musical sound of humanity, there is so much depth and power behind each song, that even in the quietest moments there are little riffs and licks, subtle string tones, a small brass part here and there, from the almost dance like infusion that ripples through Crackle Pop (reminiscent of Rob Dougan’s work) and the driving strings and powerful brass.

There is a country tinged sound to Your Flag, with a mellow and relaxed vibe that just builds as song grows and counter melodies weave and intermingle as the sinuous drum beat helps hold it all together until the brass kicks in for the massive elegiac finish that is full of power and emotion, reminiscent of the closing part to one of Mike Oldfield’s opus’.

With the strong use of brass and shorter tunes it reminds me at times of the tunes of The Home Service or Bellowhead, and the intricate musical composition quality reminds me of Mike Oldfield in parts, but that is probably coincidental, as lets face it when you’re pulling music of this nature together with such a powerful ensemble you’re bound to get a touch of the Oldfield in there whether consciously or not.

This is no homage though, this is living breathing music, and the stuff that gets in your veins and into your soul, the driving power of Blast Off for instance is widescreen film music.

Nico is a wonderful uplifting piece of music full of life and light, whilst the closing Home rounds off a highly emotional and enjoyable album with some sublime piano work and another great brass section, bringing the album home.

I’d never heard of this ensemble before, and the description was vague enough to get me interested, and the music is sublime enough to keep me hooked and listening again and again.

This is one of those albums that ebbs and flows like life itself, and is full of emotional highs and lows, and above all the musicality, the sublime performances and the compositional chops on show here, this album is brimming full of heart and soul, and one you can’t help be swept away by as an aural emotional sucker punch.

This is what music is meant to be like, and this album deserves a place in everyone’s Home!

Released 10th November 2017

Order ‘Home’ from bandcamp