Alan Strawbridge – guitars, vocals, Dino Christodoulou – tenor and soprano saxophones, vocals, Duncan Gammon – keyboards, vocals, Holly Mcintosh – bass guitar, vocals and Jasper Williams – drums, vocals.
I decided to take a break from reviewing after a bit of a rough time life wise. I needed the break and wanted to just visit albums for the sheer joy of listening rather than through the critical ear of a reviewer. This meant that I approached this album with a tinge of trepidation. This trepidation was washed away by the end of the first track because it was obvious that the band have passion and a great joyous approach to making music.
I have only been aware of the band since listening to “Protein for Everyone” on the recommendation of a fellow DJ and I admit I was impressed by the feel of the band and their unique take on making music. It has taken them three years to bring out this new album but it has very much been worth the wait. They describe themselves as “a place where Canterbury prog, 60s psych and melodic pop gently collide.” I can understand and hear that as an influence in their writing but I hear Krautrock Grobschnitt, Amon Duul and The Bonzo Dog Do Dah Band (especially Viv Stanshall and Neil Innes solo stuff too) colliding with Knifeworld and Cardiacs. This is all bundled into some very sophisticated writing and recording and yet they are still incredibly accessible.
There are 11 tracks on this album with some seriously insanely eccentric off the wall songs but everything is filled with the common theme of things in the modern world that well and truly annoyed the faecal matter out of most of us. Call it a concept album if you must but it is more of a thematic exercise in reflecting the antithesis of Ian Dury’s“Reasons to be cheerful pt 1”.
Spielen mit Katzen, which opens the album, begins with a very Van Der Graaf Generator sax vs percussion race running all the way to the end of the stave. It even has a funk bass line drawn directly from 70s disco dropped in at an unexpected point. I can only assume that cat videos on social media annoy them as much as they do me. It immediately brightens the moment to this listener.
The album flows directly into Chinese Brainworm (Taeria Solium), it’s not every day you get a song about a parasitic worm that infest pigs but apparently this is the day we do. The use of brass is excellent, it counterpoints the vocals beautifully and adds a unique quality to the sound with a very soft tone and it’s not even vaguely harsh, as the use of sax can often be when ill used.
Rattle on through the album with songs that reflect on cold calling, PPI pests and scamming and you may find yourself singing “We’ve got PPI” as an ear worm randomly as you wander around the house listening to this album.
A real stand out track among an album of great observational songs is A New Atmosphere, by far and away the longest track and musically superior because the themes get better exploration and use. Their Bristol roots show here and it’s obviously a place they feel close to as they wander round the city and give a running commentary of what a bus trip around the city must feel like. The keyboards play a huge part and the vintage sounds that are used bring out the band’s obvious love of the psychedelic music of the 60s. It is a lament to the lost of the city and the pain they feel for the urban decay with large references to world war one.
On the whole this album has something for any lover of music that coaches you out of your comfort zone. It has a wry sense of humour running through it with a cynical view of the world we live in today. It is a bonkers album at times and deadly serious at other times with genuinely intelligent music that never becomes pretentious. Like Birdeatsbaby and other bands of a similar vintage, they represent some new music coming out right now that is breaking traditional definitions of genre and styles and all the more to them I say.
What is ‘Sehr Kosmisch, Ganz Progisch’? Roughly translating to ‘Very Cosmic, Entirely Proggy’, this debut album from Weserbergland is…well, exactly what its title claims. It’s a classically progressive take on Krautrock, masterminded by White Willow’s Ketil Vestrum Einarsen. Comprising four extended instrumental compositions, the album is layered, moody, musical, and intricate. The arrangements alternate between playful and austere as Einarsen and band dance around the motorik beat. ‘Sehr Kosmisch, Ganz Progisch’ is immediately enjoyable but reveals its true depth gradually over many listens, making it somewhat difficult to review, if easy to recommend. Let’s take it track by track.
Tanzen Und Springen: This album opener features tight drumming that moves around quite a bit such that the motorik never approaches monotony. There’s quite a bit of textured flute here w/punctuating fuzz bass and angular lead guitar. The overall impact is not unlike that of an extended modal jazz composition. Five minutes in the track switches gears for a dark interlude buoyed by that dependable motorik and coloured by a bit of synth prancing.
Das Trinklied vom Jammer der Erde: The album’s longest track, this composition executes a minimalist opening with the illusion of off-beat drumming and down-tuned synth before a more aggressive beat takes over. Over the course of the track’s more than 15 minutes, the drums say rock, the synths suggest ambient, the bass and guitar reference fusion, and the flute leads invoke world & new agey jazz. In the second half of the track, the arrangement seems to agree that, whatever else you might hear stylistically, bombastic prog is the underlying theme. The track’s closing minutes explore experimental territory somewhere between the opening moments of Close to the Edge and the sound of a cassette tape being eaten in the player. In other words, very cosmic, entirely proggy.
Die Kunst Der Fuge: Is this the soundtrack to a tropical sunrise? There’s a relaxed quietness to the beginning of this composition that again evolves gradually over its length. Despite sometimes frenetic guitar work, the mood remains laid-back in a groove featuring lyrical synths, flirty woodwinds, and the rare appearance of (programmed?) vocals. The band show incredible restraint as the track builds and builds, paradoxically sounding both jam-packed and minimalist at the same time, always taking two rounded left turns just when the proceedings seem about to arrive somewhere. It’s a lovely exercise in patience and the self-rewarding activity of virtuosity. Am I speaking in euphemisms for ‘noodly’? No, I don’t think I am.
Tristrant: Utilizing some tight reverbs and programming that would make Fripp-era Peter Gabriel turn his head, this track sounds the most mechanical and spacey of the album’s four movements. It also features more sustained, ecstatic energy, encapsulated in the almost combative dual soloing of flute and clarinet in the last few minutes. In this manner, the album closes on a more traditional jazz styling, albeit one outlasted by that motorik right to the end.
Unless (and even if) your record collection consists entirely of Can, ‘Sehr Kosmisch, Ganz Progisch’ will occupy a unique space on your shelf and in your headphones. A successful tribute to Krautrock, Weserbergland’s debut will also be accessible and attractively mysterious for fans of prog, ambient, electronica, and moody jazz. Don’t pass by this gem because you didn’t know to be looking.
When first hearing about Valdez, a new band based in Philadephia, featuring Simon Godfrey (ex-Tinyfish and Shineback) and Echolyn bassist, Tom Hyatt, I made some initially lazy assumptions about it’s probable sound. I was wrong. Please check in your assumptions at the door because this is an album a long way away from Echolyn or Tinyfish. Simon Godfrey moved to America in 2014 when he married an American, and his personal journey has further stretched his musical horizons in an already wide ranging career encompassing Prog rock, acoustic songs and the electronically drenched unique rock of Shineback. When he met Tom Hyatt in Philadelphia they immediately hit it off and started jamming, then deciding to form Valdez (the name taken from a former band of keyboardist Joe Cardillo from the 1970’s.) Teaming up with the excellent electric keyboardist from Cool Blue, Cardillo, and drummer Scott Miller, Godfrey and Hyatt have produced with Valdez an eclectic and warm album, lovingly steeped in the sounds and textures of classic instruments.
The range of different styles is interesting but one thread that goes through them all is the sense of a solid, well written song. These are not sonic soundscapes of epic proportions, rather vignettes in engaging songs of sometimes wry observations of life around them. This is perhaps most acutely demonstrated in Thirteen, a song which opens with a subtle reference to the opening lines of George Orwell’s ‘1984’ in which in early April the clocks ‘struck thirteen’. The song gives us pithy observations about how our societies have come to be in their current political messes, and this is all served up in waves of ‘bubblegum pop’ as Godfrey has described it. There’s a real 70’s vibe to this catchy song with excellent electric piano, reminiscent of Billy Joel.
Godfrey has explained the thinking behind the band as having a real focus on the song, whether ‘it’s a short song, a long song or a mad, complex one. As long as it’s good we’ll grab it with both hands and spin it until we’re dizzy’, which very much comes over, especially in Thirteen. Similarly, opening song Black Eyed Susanschimes in with all the swagger and attitude of a Joe Jackson song, which is a GOOD thing!
The diversity and skill of Valdez is exemplified by the melancholic and evocative take on dementia in Sally Won’t Remember. This emotional but not mawkish song successfully conveys the debilitating slowness and sheer psychological effort associated with caring for someone with dementia. Like Godfrey this listener has experienced the sad decline of a parent with dementia, and this song echoes those feelings, but even in their dementia strangely our parents indirectly teach us about life and caring.
The stand out track on the album is the title track This, which apparently refers to ‘the world of wonder right in front of us which we forget, simply because we see it every day’. Opening intriguingly with the sound of a wurlitzer and a chiming piano, it then rises like a sun as acoustic guitar and percussion join in to then be filled out with bass and keyboards… and then it settles back in to the song with Godfrey’s distinctive and emotive voice leading us to a swelling killer chorus. This lovely song rolls along memorably and then takes a breath before a pulsing bass introduces us to a resonant final section with great multi-layered harmony vocals as it rises to a crescendo. In some ways this listener would have liked to hear a few more songs of this nature, but only because it was so bloody good!
No Stone Unturned is a more bluesy number, Godfrey sounds like George Michael vocally at times (which is no bad thing), but the real star of this number is the excellent keyboard work of Cardillo. Godfrey has shared that the whole band really thinks that the majority of the best music came out of the instruments made famous in the 60’s and 70’s. Consequently they have used a range of classic keyboards, such as the Wurlitzer, Fender Rhodes, upright pianos, classic acoustic and electric guitars, recorded through old amps, and this is particularly evident on the warm, lush, atmospheric sounds of No Stone Unturned and Little Keys. Not every song works for this reviewer (take a bow Spite House) but this is an engaging album that will draw you in.
On ‘This’, there is a real sense of looking back affectionately but not slavishly to the past, as evoked by Mark Buckingham’s striking artwork of a 1950’s style woman swinging on a balloon. This is an album of fairly stripped back but well played and constructed songs. Godfrey has also shared that this album, produced by Hyatt’s legendary band mate in Echolyn, Brett Kull, was recorded without sequencing and as miked up to make it as live as possible. Such loving attention to vintage recording techniques combined with classic equipment clearly influenced the whole atmosphere of the album, and it particularly pays off in the strong final duo of segued songs, Colorado and Smile for the Camera. Colorado, written by Cardillo, has an enchanting rolling and melodic intro and evokes the free open space of that state, with some beautiful bass by Hyatt. An ambient, feedbacking interlude connects us to the beguiling Smile for the Camera, which floats in with a delicately picked acoustic guitar, with echoes of classic Supertramp’s heyday. This extended song takes a jazzier turn with peculiar sounds and a twisting synth solo… it seems that Godfrey and Hyatt couldn’t quite contain all their ‘Proggier’ impulses for a whole album! However, this is a brief diversion before this piece takes another turn into the beautiful blissed out harmony vocals reminiscent of Crosby, Stills and Nash, possibly with the help of Kull who added vocals and guitar alongside his production duties. Nevertheless, ultimately this is a Valdez song because the song then concludes eerily and possibly a little darkly with the last line ‘Smile for the Camera’ .
Valdez have created an interesting album, which crosses various genres and combines the myriad talents of the band in an engaging mix of sounds and songs. It’s not particularly ground-breaking or innovative, and was never intended to be so – but if you’re looking for some well written and well performed songs in classic style with warmth, with and spirit ‘This’ could be it!
So let’s face the elephant in the room straight away.
This is always going to be emotional on so many levels and affecting people to different degrees. The album was recorded in Dutch Club 013, Tilburg, in the autumn of 2015 and features Piotr Grudzinski who is sadly no longer with us. Not a subject I intend to dwell on and this should be seen as a glorious celebration of the man’s talent at the top of his game.
Every ten years Riverside add an exclusive release to their discography, and ‘Lost ‘n’ Found: Live in Tilburg’, is the latest. The double CD with graphics designed by Travis Smith was to be available only at this year’s shows on the “Towards the Blue Horizon Tour”. This raised an amount of consternation and unrest amongst those who would not be able to attend, no doubt fuelled further by enhanced emotions due to the sad loss of Piotr.
I was lucky enough to attend the concert at The Marble Factory in Bristol on May 20th, last Saturday in fact, and a copy was bought for me which has enabled me to write this review.
Closing the door on the above and opening the one saying ‘Backstage Only’ I stride down the corridor toward the stage where all the action is to take place on these discs. It would be the obvious thing to do, going through the tracks individually and commenting on them. But those who love Riverside’s music don’t need telling how good the songs are, or to be advised on the quality excellent musicianship of the individuals.
Better to look at this as a ‘Live’ experience. So what separates a poor live band from a great one and a quality ‘Live’ album from a dismal disc that ends up on your coffee table as a coaster? Every individual may differ in their opinion, but there are certain things that I like/dislike on ‘Live’ recordings.
It is a feeling, the ability to raise the hairs on the back of your neck with the electrical charge sparked between the band and their audience. It takes you back to that night if you were there, if not it transports you through the speakers to plant you, front row amidst the heaving throng of swaying bodies, as one in unison with the music pumping from the speakers.
A quality sound is imperative, too muddy or overproduced and it will be ruined. A fine line and delicately balanced it’s not easy to achieve the right mix and excellence whilst retaining the ‘Live’ atmosphere. The one that puts a smile on your face as you sit listening, a slave before your master, the sound system. The first applause introduces the arrival of the band on stage and the notes of the introductory track kick in, you close your eyes and raise your arms in supplication to the gods of your living room.
Your head nods and you mouth the lyrics to yourself, by now blissfully unaware that no one else is in the room (except the pets) and if the magic is taking a hold, then neither are you.
This brings me to another possible pitfall, the applause and running dialogue betwixt band and discerning crowd, or should I say, distinct lack of it on some so called ‘Live’ recordings. It saps the very energy from the atmosphere like a music hating succubus. The vampire intent on draining every last bloody drop of musical theatre from the sound. It has always puzzled me the urge to eradicate any and all components that allow a ‘Live’ recording to breathe naturally, nurturing the adoration and adulation blossoming from the performers and watchers alike.
It is the lifeblood which links the individual tracks, the pitfalls, dropped notes and reciprocal banter, in stilted attempts at the local dialect causing a warm felt humour. The band tune and retune whilst taking the opportunity to introduce the individual musicians, allowing you brief respite to settle back in your armchair whilst staying connected, before unleashing the next eagerly anticipated adrenaline injection of melody through the speakers.
By now the cat and dog have left the room, convinced you have lost a grip on reality and you don’t even notice the twitch of a whisker. You have no need to rise from your seat as the multi-disc player slides into the second CD, carrying you away on waves of euphoria, the bliss of release from day to day strife falling away as time slips by without a care in the world. All that matters is the here (or there) and now. Nothing can pull you from the crowd, eject you from your respectful reveries as your mind applauds an imaginary stage.
All too soon they reach the final song then leave the stage, the ecstatic crowd baying for more, clapping, stamping cheering and whistling. You are participating in the temporary auditorium created among the sofa and coffee table, with the closed curtains across the bay window shutting out the light, enhancing the illusion.
You, along with the attendant throng will the band to return for just a little while, play some more, don’t let go, not yet. Wetted appetites are slated as the members wander casually back into view, towels caressing well earned perspiration from weary but satisfied brows, in the knowledge that the final line is in sight and they will cross to the winner’s enclosure.
Every last drop of remaining emotion is wrung from the instruments, vocals accompanied by audience participated backing voices, from dry throats tortured to burning point by the smoke machines. Louder they get, to near hysteria levels, the ultimate note is struck and there is the briefest of silent pauses before realisation dawns that the band have played their last. Tumultuous waves of sound from suffering air-pipes erupt in fervent appreciation for the unforgettable evening that has been bestowed upon the dedicated listener. The band leave the stage throwing drumsticks and plectrums to the hands reaching out and they’re gone.
Animated and enthused the multitude filter into the cold night air, steam rising from the heated bodies, wisps fading like the the lights, into the night.
It’s done and you rise flicking on the light switch to bathe the room in a warm glow, time to make a cup of tea and let the pets out into the garden. But don’t be too despondent as you can relive the event when and as often as you like.
‘But he’s hardly mentioned Riverside‘, I hear you cry.
Look again dear reader, they are there in every good word, every sentence to raise plaudits, every vowel, noun and space, for this is Riverside ‘Live’ in Tilburg. They have realised the dream and created moments to remember, scenes that will live forever in the mind. If you want a true ‘Live’ album then look no further, for the fan a must buy, for those interested a great introduction to one of the foremost modern bands on the scene.
Out of the darkness comes light and Riverside are bathed in it. Catch them on tour, you never know, you might even be on the next ‘Live’ release.
Available exclusively from each date on Riverside’s ‘Towards The Blue Horizon’ tour.
I remember 1992 (yes I am that old!) and seminal Progressive Metallers Dream Theater releasing their incredible second album ‘Images and Words’. It was something of a groundbreaking release with the incredible musicianship and songwriting making a huge impact on my life.
I followed the band for many years with superb release after superb release, ‘Awake’, ‘Falling Into Infinity’ and themarvellous, innovative brilliance of ‘Metropolis Pt2 – Scenes From a Memory’. I first saw them live on the ‘Train of Thought’ tour in 2003 and was blown away by the majesty of their show. The last great album they released, in my opinion, was 2005’s ‘Octavarium’ and, sadly for a big fan like me, they seemed to peak then, both on record and as a live event.
I’ve been waiting for a long time for an album of pure progressive metal to come along and blow me away like ‘Images and Words’ did in 1992, one with some great songs and wonderful instrumentation, I like an extended guitar solo as much as the next man!
There have been some near misses but none have really come close. Funnily enough, it was one of my old fellow Dream Theater fans, Laura McCoy who put me on to Graham Keane and The Vicious Head Society, sharing a video of a track from the debut album ‘Abject Tomorrow’ and it piqued my interest more than enough to want to hear the whole thing.
Why? because the first thing that came into my head was, it’s like Dream Theater but the old Dream Theater when they were my favourite band in the world and that’s just got to be good…
The Vicious Head Society is the brainchild of Irish guitar virtuoso GrahamKeane.
Debut album ‘Abject Tomorrow’ initially started as a pet project around 2010 after returning to the Emerald Isle from music school in the UK. Keane was tutoring aspiring musicians when he decided to start writing original material purely as a self gratifying project. He figured that living in a remote area of Ireland with not many musicians interested in his style of music, metal, hard rock and prog, he would be best to forge ahead alone. As with many creative types Keane had a very laid back attitude about the whole thing and on many occasions just sat there noodling on his guitar while life passed him by. It wasn’t until his wives cancer diagnosis in 2013 that he started to take things a bit more seriously. The shock of realising his own mortality threw Keane into action.
Writing and recording became an asylum, from the emotional turmoil and with nothing to lose, the project began to grow in scope. Virtual instruments wouldn’t cut it anymore, as had been the norm to that point, and so Keane began to contact musicians worldwide to help bring it to life. Of course this brought with it several new challenges, not to mention the financial burden, the main reason it has taken this long to complete!
The vast majority of the album was recorded in Keane’s home studio with vocals, drums and other guest musicians being outsourced to their own recording facilities. Guests including Wilmer Waarbroek, Derek Sherinan, Nahuel Ramos, Pat Byrne, Klemen Markelj, Kevin Talley and Nathan Pickering. “It was a somewhat challenging process,” Keane comments. “Financing being one of the major difficulties. There were times when it seemed like releasing the album would be impossible but I’m delighted to have overcome these obstacles and with the help of some really amazingly talented people, it is now complete!”
As with most progressive records ‘Abject Tomorrow’ is no different in the sense that it is a concept album. The story is based in a dystopian future in which all humans are required to have emotion inhibiting implants implanted from birth. One man’s implant fails and it chronicles his journey of discovery and reconnection with his humanity. Musically, it draws from a huge range of influences; from classic prog acts that influenced Keane growing up, such as Yes, Genesis, ELP and Rush to metal acts such as Death, Meshuggah and Megadeth. Keane adds, “I hope it finds some kind of audience and that people enjoy it. For me, it’s a very emotive album. Even though it’s a concept album on the surface, there’s a lot of personal experience in it and there’s sure to be some people out there who can connect with it on an emotional level.”
An urgent keyboard note introduces you to The Sycophants before some powerful and edgy riffing, joined by dynamic drums takes over. A monstrous riff erupts from the depths of the earth to pound you with its ferocity and then the vocals kick in, hard-edged and forceful. This is no frills prog-metal, you get what you see and it is all the better for it. Throw in some brilliant guitar runs and the odd solo that burns like a solar flare and you couldn’t really ask for much more, actually you don’t need to because Graham gives it to you anyway. Well thought out songwriting and his emotive vocal give real class to the song, add in an cleverly intricate instrumental section (dare I say it, emulating Dream Theater themselves), a thunderous close-out and you’re left admiring a really good opening to the album. So, now onto the title track, Abject Tomorrow begins with a really skittish, staccato riff that has a feel of unease to it, the progressive drums pounding along in union. A coruscating guitar fires up into the heavens before things calm down, an uneasy silence broken by some rather dark and hushed vocals. I’m on the edge of my seat with anticipation before the powerful chorus erupts from the quietude, an emotional depth emanating from Graham’s vocals. The guitar note almost seems to be speaking to you when the darkness returns tenfold with some harsh vocals giving a proper demonic tone and an ominous counterpoint to the grim hope that the haunting chorus seems to give. Cue extended guitar solo and a bloody good one at that. This song really does seem to be clash between darkness and light and you find yourself caught up in the tumultuous conflict, like a musical version of Lord of the Rings, fantastical and nightmarish. A conflict that seems to span the ages, neverending and the stylish close to the track seems to echo that in eternity.
Downfall has a subdued opening, all swirling, sci-fi keyboards before the tension starts to build. Graham’s heartfelt vocal takes centre stage, a stirring delivery backed by some stylish bass playing and it gives real heart and soul to the song. A harsh vocal delivered over some elegant keyboards really gives an out of this world aura to the song. The juxtaposition between the earnest, fervent clean vocals and the alien feel of the harsh voice really works, one complementing another. As the song comes to a close a granite-like riff gives an elemental quality and the vocals soar into the distance almost like an out of body experience, a compelling and passionate track that really touches your emotions. I have to admit that I’ve been impressed so far and the next track just adds to that in spades, Agenda opens with yet another impressive and uber-heavy riff, one that could shatter mountains I’m sure! But it’s not all about the intensity, there’s intelligence right at the heart of this music too (got to say I love the riffs though!), the songwriting and musical ability is excellent and every note is there for a reason, even if it does strip paint at forty yards. The dynamism of the music and the addictive chorus work together perfectly to add lustre and vitality to the compelling songs. I am not a lover of the harsh, cookie monster vocal delivery but it really works on this album, Graham seems to have got the balance perfectly right. As for the guitar playing, well it is one of the most influential aspects of the album and what lifts it above the merely good and gives an almost cinematic scope to every track. As you get towards the end of the song it goes all intricately progressive on you before a calmness envelops all and then we are treated to a crescendo of an ending, a stirring and affectional guitar fading out to the close.
A hushed voice and keyboards open The 11th Hour, a feeling of treading water as if you’re waiting for something to happen. Falsetto vocals arrive along with another epic riff from the bowels of the Earth, everything has an anthemic feel to it, music for the ages, from the ages. There’s an uplifting delivery to the vocals yet one that has a pleading undertone, more mixing of the harsh with the clean, once again to good effect and then a more jazzy instrumental section where the bass takes on a funky tone and the guitars a more stripped back feel. A real melting pot of musical styles that deliver a vigorously immersive listening experience, Devin Townsend meets Queen in some strange parallel Universe and they join up with Faith No More and Metallica for a jam session. It’s hypnotically brilliant and quite mesmerising. Psychedelic Torture Trip is just under four minutes of fast paced, elaborate instrumental showboating and it’s thoroughly enjoyable. If you can play instruments as well as this then why shouldn’t you have a bit of fun while doing it? It brings back memories of tracks like Erotomania by Dream Theater and the like. Just sit back, press play and enjoy the virtuoso music laid before you.
Granite like riffs that feel as old as the earth and weight more than the planet we live on? check, that’s what you get at the start of God Of The New Age and it’s almost as if they are being played by celestial beings. This is a riotously compelling song where the heaviness of the music doesn’t detract, it is absolutely necessary and gives emphasis to the vibrant keyboards, energetic drums and Graham’s charismatic vocals. The thunderous guitars and crushing drums that close out the song along with some rather stylish keyboards are utterly compelling, just turn up the volume and enjoy this utter prog-metal fest! The epic nineteen minute album closer Analogue Spectre is a nod to the great progressive metal acts of the past, Graham channels his inner Symphony X, Dream Theater and Fates Warning and yet gives everything his own twist to make it uniquely The Vicious Head Society. A slow burning opening builds up the tension before a heartfelt guitar fires out of the gloom and the shackles are off, a more subtle riff and then Graham’s hushed vocal give an almost symphonic metal feel, this is rapidly blown away by the increasing intensity of the riffing and drums and the vocals taking on a more urgent tone. This is music that grabs your attention with its ebb and flow between the restrained and controlled and the potent and persuasive and it’s a fascinating counterpoint. You’ll get blind-sided by some utterly spellbinding and complex instrumental progressive sections that seem to find their way out of more blind alleys than is really possible. Note perfect and yet ferociously perplexing and convoluted, it’s all you can do to keep up. Follow this up with some laid back, chilled, calm and collected parts and you are being treated to a whole gamut of musical emotions that your mind is manically processing to try and keep up with. The uplifting, almost symphonic metal vocal that follows is utter class and gives a real gloss to the track. This song is like a tapestry that displays the whole range of musical emotions (including salsa, yes… salsa…) that Graham is capable of and leaves me speechless in appreciation.
It is 25 years since ‘Images and Words’ first graced us with its presence and we have been given a plethora of Progressive Metal albums since, some very good but most not so. I don’t think I’m speaking out of turn when I say that ‘Abject Tomorrow’ is one of the best I’ve heard in that quarter of a century and deserves to be named in the same breath as ‘I&W’, it really is that good. A prog-metal masterpiece for the 21st Century, Graham Keane and The Vicious Head Society have only just begun their journey to the top of the genre but are already well on the way there.
A shift of late has seen many bands classed under ‘heavy’ and ‘post/math rock’, expand their horizons and feel the need to spread their musical wings of experimentation. I have mentioned in previous reviews how easy it is to get lost in the masses and the difficulty facing up and coming bands in finding their unique selling point. The sound that will see them cut through the dense undergrowth of bands to the road leading in the direction of success.
One such band are Valerian Swing.
Emerging from the historic town of Corregio in the valley of Po, Italy, this intriguing trio first set out on their quest in 2011. Describing themselves as ”Three Italian lunatics playing mathy, violent, anthemic, and largely-instrumental songs”, does not really cover the full scale of their work and may discourage some. But if you like music that keeps trying to find new ways to express itself then you may want to give this a listen, as isn’t that what Progressive music is all about?
With the departure of bass guitarist Alan Ferioli the band currently line up as:
Stefano Villani: guitars, electronics, vocals, David Ferretti: drumsand Francesco Giovanetti: baritone guitar, synths.
The introduction of Francesco to the fold has enabled them to expand and explore other musical areas and add to their previous sound.
At the dawning of first track ‘A Leaf’, it’s clear the band are willing to experiment as the clicking of a percussive ‘cricket’ beats his sticks together and synthesised insects buzz around the speakers building to a pounding drum beat and catchy guitars. Everything floats on a creative breeze building to a cacophony of sound, which tugs at the last leaf on the tree. Buffeting and pulling at the single stalk from which it hangs, the curled cuticle, pigmented colour draining from green to copper brown dangles perilously for most of the day, until a gust of guitars snatches it away and across the sky.
Rising on thermals of digital key-work, the leaf is carried from the noises of the wood behind it swooping and swerving. Dipping and looping over countryside on through the night, it is driven by the instrumentation across the land and above the sea, where the wind suddenly tails off briefly as daylight rises. The leaf floats down to the deck of one of ‘Two Ships’ the large sails tacking to find the rising wind. The sails on the one carrying the band catch, billowing out and straining at their ropes tied fast to the masts, as both clippers race toward the coast like white ghosts on horsetails spray, crossing the finish line to distorted cheers from the crowd lining the bay.
Cruising into dock the band leave the crew to moor up the winning vessel and disembark with their gear to the adulation of Stefano’s processed vocals and raise the trophy. ‘Three Keys’ are presented to them and it’s time to relax overnight, before mounting three of ‘Four Horses’ in the early hours (the fourth carrying their supplies) and riding from the port across the tracks stretched out before them. The keyboards set the rhythm with the thrum of Stefano and Francesco’s guitars on which they ride, the pounding drums from David raising dust beneath the hooves.
In a couple of days they reach a city with ‘Five Walls’ as dusk beckons. Riding through it’s gates they are blanketed by the cosmopolitan sounds of digitised voices going about their daily business in the crowded city streets. Arriving at a compound in the western corner of the city they dismount, open three stables with the keys they received and unsaddle the horses. They take rest and sustenance in preparation for the next passage, whilst in the cool of the evening, festivities bring relief to the citizens, from the drudgery and heat of the day.
At dawn the band leave the city, walking, the ascending sun caressing their necks as ‘Six Feet’ set a fast tempo. Time is pressing and the musical terrain needs to be fully covered, they cannot afford to stumble or trip over frets.
The guitars scream to a halt as they look upward in a haze of feedback at the ‘Seven Cliffs’ before them. Care is needed as gentle notes and syncopated drum patterns mark the uneven ascent, one wrong or dropped note could cause disaster. But sure-footed they move with confidence then gain pace, with the elated guitars, drums and keys gaining footholds to reach the summit, collapsing on a dying line of feedback.
Exhausted but exhilarated the band rest, gaze out at the sounds of a new day being born. Food is produced from backpacks and fine beer to wash it down as they regale each other with tales of the journey. A bloated blood red sun ventures from the horizon, bathing everything in hues of pink and red. They watch as vermilion ripples across the sea, ribbon towards the base of the cliffs and they are satisfied.
It has taken ‘Eight Dawns’ to reach the conclusion of this varied album, full of passion, riffs and sublime technique. Cinematic, energetically varied even flirting on the edges of pop with their experimentation, in ‘Nights’, Valerian Swing have created their most accessible album to date and paved the way to what could be a bright future.
All three of these gentlemen are excellent musicians and work seamlessly together. It is not my way to normally favour anyone but on this occasion, I feel I must praise the power house on drums that is David Ferretti and state quite simply that he is ‘formidabile’.
And she’s not wrong Miss Ricci, 2017 has become a year of two all encompassing obsessions for me and, unfortunately for you, if you follow me on social media you will know all about them!
The first one was running. Even though I have been a frequent visitor to the gym for the past two decades, I could never get along with running. This all changed in January when I was persuaded to try road running and I haven’t looked back yet. Despite the occasional injuries I now run approximately 40 kilometres a week and this has been dangerous for my body.
The second one was my re-introduction to collecting vinyl and I can lay the blame for that squarely at the feet of Chris Topham, vinyl expert and sometime Virgin Airlines Captain. From the day he asked me if I would be interested in reviewing some vinyl releases on his Plane Groovy label I have been hooked and this has been extremely dangerous for my bank balance!
The latest release to get the Plane Groovy vinyl treatment and for me to review is the 2017 anniversary vinyl edition of ‘Amplify’, British rock sensations Tess Of The Circle’s 2016 release.
Tess Of The Cirlce is a British independent band that focuses on the songs of male songwriter Tess Jones and a collective of participating musicians. With a new line up for 2015/16, ‘Amplify’ was released on 22nd April 2016, giving shades of 70’s rock fused with hints of post-grunge and alt indie.
This was a follow up to 2013’s acoustic rock E.P. ‘Thorns’ and Tess was joined on the new release by returning lead guitarist Lee Clifton and new members Ben Drummond (bass), Paul Stone (drums) and Ange Loyd (backing vocals).
“We are thrilled to bring this record to vinyl after so many requests for it at gigs and festivals”, Jones says, “I hope the release satisfies existing fans as well as being a perfect opportunity to introduce us to music fans who may have missed out on us the first time around!”.
Once again, the quality of the package is incredible, the vinyl release is initially limited to 300 copies which are all individually numbered and signed by Tess Jones. The unique artwork for the album cover and reverse is both simple and yet striking and the 180g heavyweight vinyl itself comes in a plain white slipcase with accompanying numbered and signed lyric and credit sheet. It all adds up to yet another impressive vinyl release from Chris and what we have come to expect from Plane Groovy.
So to the music and that frisson of excitement I now get everytime I lift the needle for the first play of a new vinyl. I’m certainly not disappointed by the opening track Love Is The Drug You Crave, a solid punch in the solar plexus from the the guitar, bass and drums, man the sound quality on this vinyl is crystal clear and very powerful and it works perfectly with the hard rock vibe of this song. Tess’ vocal has that requisite smoky roughness to it that you’d want and expect and Ange’s backing vocals added in with the funky guitar sound give a Primal Scream touch to proceedings. Add in the dynamic rhythm section and, all in all, it’s a brilliantly raucous and rollicking opening to the record. The vinyl is mastered from the original 24 bit files and you can tell, you still get that warmth that is a signature of vinyl music but there is a clarity and purity that come through when plying it as well and it is very apparent on the psychedelia tinged brilliance of I’m Not Ashamed which opens almost like Pictures Of Matchstick Men by Quo before a delightfully groovy guitar tone takes up the reins and a Twin Peaks aura settles over everything. Tess delivers a really impressive vocal performance, the Britishness of his enunciation and the stylish backing vocals add quirkiness to the leftfield supernatural overtones I get from the song. Lee’s guitar playing is exemplary and right off the top shelf and gives real drive, I’m enjoying this album more and more with each song. I don’t know about the rest of you but, when I’m listening to an mp3 or, to a lesser extent, a CD, I’m usually listening to the music as an accompaniment to another task yet, when I get the vinyls out, it is an all engrossing listening experience usually enhanced by a glass of something alcoholic. As the opening bars of You Take Me Out Of My Head begin I’m actually mesmerised by the record spinning on the deck but the thumping riff and pounding drums soon bring me back to the world of the living. This track really puts the HARD in Hard Rock with it’s incessantly scintillating guitar riff and that rhythm section that never puts a foot wrong, wow it really ROCKS like early 70’s Led Zep on uppers! Tess gives a vocal jackhammer of a performance which is enhanced by the little snippets from Ange,
“It’s not enough, it’s not enough…”
A thunderous celebration of all that’s British about hard rock, it is an absolute monster of a song and I get the feeling that the band are having an absolute blast of a time playing it. It never lets up with its intensity and dynamic confidence, a powerful statement of intent for sure.
A calmness pervades with the gentle guitar opening to Believe (Into Her Arms), a much more pared back track, you can feel the honesty in Tess’ impassioned vocal as the needle tracks the grooves on the vinyl, it’s almost painful in its intensity. The assured delivery of Paul’s drums and the stylish bass playing by Ben add real class to this winsome song and it actually gives you chance to get your breath back after the energetic and compelling rock of the first three tracks. There’s hints of indie, Americana and country-rock running all the way through and the guitar playing is just sublime, as things come to a close let the final notes wash over you and enjoy the silence. Edgy, funky and in your face, the dynamism returns with the full on ferocity of Mother, Daughter, Son, an exuberant, devil-may-care thrill ride of jangling guitar riffs, frenetic drums and Tess’ irascible vocal. A song that just won’t let you sit still, it grabs you by the hand and invites you to join the joyous chaos, just under three minutes of unadulterated punk rock infused fun. And that’s the rambunctious and rowdy close to side one. as the needle tracks the final grooves I find a huge grin on my face and that’s what music like this is all about isn’t it?
A quick recharge of the glass and it’s time to flip the record over and listen to side two. Tess himself thinks that Digging At My Bones is the most ‘proggy’ track on the album and as the first notes ring out clearly I can almost see where he is coming from. There’s tension and fervor in the first words that he sings and the guitar has more keenness and emotion and they combine to give intensity and an edge that wasn’t there before. The whole instrumentation has more complexity and yet still retains that hard rock tinge and it’s a very palatable concoction. The bass playing is involved and the drums seem to have a life of their own and everything joins together to give a real meting pot of influences and a great song. Face The Changes is a much more straightforward track that has its roots in the Alt Rock and grunge communities, fans of Screaming Trees will appreciate the elegantly strummed guitar and the stylish vocal delivery from Tess and the backing vocals add another layer of polish to what is already a classy track. The bass and drums provide the foundations on which the whole song can build, turn up the volume and just listen to the nuances that you get from the vinyl as they come through your speakers, yet again this impressive band deliver. And now for something deliciously dark and dirty, the tuned down guitar note that opens Drowning Without You is inspired, Chris Isaaks meets The Doors down a back alley for a guitar slinging duel and the product of that encounter is utterly irresistible. The repeated riff is an utterly addictive earworm and just adds a dark humour to this really funky track. The tense vocals have a hint of menace and the swirling solo adds complete theatre, you can imagine this being played live in a darkened, underground club in the backwaters of America, it really is hauntingly memorable. Sit back with glass of something dark and soak in the atmosphere, you just wouldn’t get that from a digital file.
The guitar tone ventures even more into Mariachi inspired Doors territory on Summer Rain, an earnest, sincere song with a stark feel to it and Tess sings in almost subdued manner, his vocals becoming more heartfelt on the stylish chorus. The keyboards, guitar, drums and bass really do scream The Doors at me and it gives a real cultured timbre to the music. Definitely not the most joyous of tracks but the grave and sorrowful aura works really well delivering a sombre and wistful piece of music that leaves you in a contemplative mood. Hauntingly beautiful and simply ethereal, The Waves Break Us Down relies on the sparse instrumentation of acoustic guitar and delicate, ghostly strings and the stark, earnest quality of Tess’ vocals and it delivers perfectly, leaving me with goose pimples and a tear in my eye. The acoustic guitar, expertly strummed and the honest vocals with an emotional catch in them herald the opening lines of the final track, This Higher Ground and it is a brilliantly pared back and folk infused ballad. The uncomplicated purity of the music comes through perfectly on vinyl, as it was intended to be. I’m a real lover of strings and their unadorned innocence adds another layer of integrity and clarity to this refined and simply wonderful song. As the needle reads the final grooves and the album comes to a close I feel at peace and utterly calm inside, once again music making my world a fantastic place to be in.
To put it simply, ‘Amplify’ is an incredible album, a brilliant fusion of musical styles over a hard rock foundation. Tess Jones looks deep inside himself to deliver songs of heart and soul that are delivered with utmost emotion and incredible skill by this superb band, Tess Of The Circle. All of this is lifted several notches by the vinyl listening experience which brings something almost primal to the party. A compelling release that must become part of any vinyl lovers collection.
Exclusive two week advance release on 29th May 2017 through Burning Shed.
“No matter how much time passes, no matter what takes place in the interim, there are some things we can never assign to oblivion, memories we can never rub away.”
― Haruki Murakami, Kafka on the Shore.
Imagine, if you will, a deserted beach and a man in studious concentration, digging up the sand and then, like an artist who works in silica, crafting the most wonderful sandcastle. Like a medieval wonder it rises from the sand into a creation of unparalleled brilliance, a thing of spectacle for all to marvel at.
Fast forward twenty four hours to the same beach where the wondrous castle has disappeared, swallowed up by the unremitting tide, and the sand is pristine, not a single sign of the artist’s incredible work.
The artist may return to take up his labour of love once more but nature will always prevail, no matter what he does, and the sandcastles will always return to their constituent particles.
To me, this is something of an allegory of modern music. New records have such a short time-frame to impress the listener before the next big thing comes along. A lot of these albums will have been labours of love that the musicians have slaved over for months until they are as close to perfect as they can be. What do they do to make their achievements stand out enough for people to want to listen to and buy and to stay long in the memory to still be played in a years time or more?
British progressive rock stalwarts Big Big Train have long been known for their immersive musical productions with songs that tell stories from history and folklore and have been incredibly succesful. They are one of the bands that I turn to often for my musical fix and their pastoral progressive rock has been a big part of my life for the last four or five years.
April 2017 saw the release of their latest studio album ‘Grimspound’. On ‘Grimspound’, Big Big Train tell stories from the oceans and the skies, from the meadowland and the mead hall, tales of scientists and artists and poets and dreamers. Here can be found songs drawn from history and folklore, true-life tales of a flying ace, of Captain Cook’s ‘experimental gentlemen’ on his first voyage of discovery and the legend of a ghost waiting outside an ivy gate whilst the carriers of souls circle overhead.
Now, even though I liked the last year’s ‘Folklore’ (and still do!), I felt that, even though it had immediacy, it lacked the depth and endurance of albums like ‘The Underfall Yard’ and ‘English Electric’ and I don’t go back to it as often as I do the others.
Would ‘Grimspound’ be another engrossing tour-de-force that would take longer to really get into but, because of that, become a much loved classic? Let’s delve into the past and let the amazing story telling of Big Big Train do its magic…
“A statue of a young man
Defiantly stands
Glove held in left hand
With an Angel close by his shoulder…”
“The wonderfully atmospheric tale of Captain Albert Ball, a reluctant flying ace and hero of the Great War,“a young knight of gentle manner who learnt to fly and to kill at a time when all the world was killing … saddened by the great tragedy that had come into the world and made him a terrible instrument of Death”. DL
A haunting introduction paves the way for what is a classic Big Big Train track and really gives me the impression that the band have returned to their roots with this record. The build up is slow and measured before the guitars and drums herald the main part of the song and you are already rapt in attention. Lovely touches of flute and violin draw in David Longdon’s expressive and emotive vocal to tell the tale of this heroic airman. The music has a touch of pomp and circumstance in parts, befitting such a hero but also has gentle and subtle touches that would seem to mirror his compassionate soul. The build up to the chorus is spine-tingling and has you singing along with the words,
“I’ll be a brave captain of the sky.”
There’s a segue into a fast-paced instrumental section that has you on the edge of your seat, these consummate musicians once again showing their skill and class with guitar parts that are intricate and memorable and the mesmerising keyboards playing off against each other. Nick D’Virgilio’s drums and Greg Spawton’s bass are the glue that holds everything in place on this enduringly powerful piece of music before we are brought back down to ground and David’s voice over tells us more about Captain Ball and how he finally came to be shot down, aided perfectly by the stirring strings of Rachel Hall that almost seem to talk to you.
This amazing song closes out with another brilliant instrumental section interspersed by the repeated refrain,
“Brave Captain of the skies..”
Heart-wrenching guitars and that vibrant rhythm section hold your attention right to the suitably impressive end. Wow, what a start to the album!
“On The Racing Line, this instrumental is a further piece about John Cobb, the racing driver, who was the subject of our song Brooklands on the ‘Folklore’ album.” GS
An immediate and expressive instrumental that seems to convey the impression of speed and racing from the first note. Just let the music wash over you and be transported back in history to a time of gentlemen racers who would drive their cars to the track before risking life and limb careering round at high speed. The drums, keyboard and piano seem to be the motive force of this song, the descriptive strings and compelling guitar painting the pictures in your mind, it is all really inventive and quite majestic in delivery. Not just a piece of music but one that recreates history right in the depths of your mind.
“Farewell, my friends,
taking leave of England
headed due south;
experimental gentlemen.”
In 1768, Captain Cook’s ship, HMS Endeavour, set sail from Plymouth. The voyage had been financed by the Royal Society and the Royal Navy and had a number of aims, including the observation of the 1769 Transit of Venus.
Along the way, the botanists aboard the ship were tasked with collecting specimens from all locations visited in the southern hemisphere. Cook called the scientists on the Endeavour, who included the astronomer Charles Green and the botanist Joseph Banks, his ‘experimental gentlemen’. GS
Experimental Gentlemen was the track that, upon first listen, made me realise that the band were reverting back to their older sound. The introduction is gentle and pastoral and lifts the soul, leaving you in some kind of reverie, flute and piano meandering around your mind before Nick’s drums direct everything into a more regimented sound. There’s a feel of ‘English Boy Wonders’ to the rhythm and vocals and the brilliantly evocative and descriptive guitar is a beautiful touch. Every time David Longdon sings the title line I find myself joining in and a smile appearing on my lips, this is Big Big Train at their expressive and illuminating best. Rachel Hall’s violin takes centre stage half way through as a more serious note pervades the song, aided and abetted by some emotive keyboard playing to give a real affectional feel to the song. Her violin follows the motif of the chorus and we are off again on this jaunty journey into the wonder of it all. The climax begins with a brilliant, rising guitar solo that grabs your attention before calm and reflection settles over the track and it segues into a piano led section where Greg’s subtle bass playing joins Nick’s drums as the foundation on which a haunting guitar and ethereal strings raise the hairs on the back of your neck, quite clever and very touching as this superb song comes to a close, leaving you enjoying the silence and solitude.
“Here, with book in hand,
follow the hedgerow
to the meadowland.”
“One of the characters who featured on our ‘English Electric’ albums was David’s Uncle Jack. The Meadowland in this song is an idealised place where people gather together to share their thoughts about the things they love. You may bump into people when you are out and about and spend some time talking with them, creating your own such space. As the song is set in the countryside, I couldn’t resist a final appearance for Uncle Jack, who follows the hedgerows up to the meadowlands, as he did many times in his long life.” GS
A short song as Big Big Train ones go, coming in at under four minutes go, it opens with a wistfully delicate guitar and violin that immediately gets under your skin with its sentiment and warmth. This is an exquisitely graceful track that really plucks at your heartstrings, David’s vocal is heartfelt and just brings nostalgia flooding back. The interplay between the violin and guitar is genius, I don’t mind admitting that I had a tear of joy in my eye as it came to an elegant close.
“What shall be left of us?
Which artefacts will stay intact?
For nothing can last…”
“Grimspound is a slightly older song than the others on the album. In fact, the drums were recorded by Nick at Real World back when we were making ‘Stone & Steel.’ Big Big Train music contains many historical and archaeological references, and this song is no different in that respect, because it is the name of a Bronze Age settlement on Dartmoor in Devon. When I came to write the lyrics for ‘Grimspound’, I decided that it would be a song about the folklore and myth that surround crows. It is specifically about life, from the perspective of Grimspound the crow.” DL
A slow building opening to the song, a gentle breeze blowing around your mind as the calming music settles upon your soul. There’s a touch of ‘Folklore’ to this track, a more folk edge to the music and the vocals and the repeated musical motif which has become a much loved instrumental earworm to me. Grimspound is a song that just epitomises Big Big Train and their wonderful brand of pastoral progressive rock with its unique Britishness that the fans can relate to. The music is catchy and grabs hold of you and won’t let go but in a gentle and jovial manner, it is music for long summer days in the meadows with meandering streams and for making lifelong memories. The delightful run out with the elegantly nomadic guitar line just adds to the class and charm.
“Upon nights this cold
So the story goes
Some folk say they see the ghost
of Thomas Fisher wait
Outside the Ivy Gate..”
“The origins of this dark song began when I was trying to write a piece called Folklore. This was way before we had decided to call our 2016 album by the same name. The Ivy Gate is a song about family and loss, the perils of childbirth, warfare and faith. It is also a supernatural tale concerning damnation. The Ivy Gate is set during a time of war and centres around the life and times of the ill-fated Fisher family. I met Judy Dyble when she attended the Saturday BBT show at Kings Place. We kept in touch and, as The Ivy Gate developed, I thought that it would make an interesting duet.” DL
The idea of The Ivy Gate being a duet between David and Judy Dyble of Fairport Convention fame borders on genius and gives an elegant fusion of traditional folk and the more pastoral, progressive rock tinged, version that Big Big Train produce. The deep and dark, banjo inspired opening gives real atmosphere and depth to the song right from the off. Judy’s voice adds drama and suspense to the song and a mysterious aura envelops the music, added to by the haunting strains of Rachel’s strings. I feel like I’m transported back in time to be in the middle of a supernatural Victorian spectacle and when David joins in it is almost spine tingling and dramatic. There’s a tense, nervous feel to the music, the violin and banjo adding real tension before the song erupts with Greg’s dynamic bass giving real drive and force to proceedings and progressive overtakes folk as the stimulus. Keyboards swirl, drums are pounded and we are back in the 70’s with a proper prog out instrumental section backing David and Judy’s vocal conjoinment, a powerful musical statement from the band.
“With an eye pressed to the spyglass
counting constellations.
On the shores of distant oceans
charting undiscovered lands;
the collectors and observers,
curators and explorers,
reflectors of light.”
“A Mead Hall in Winter began life as a two-minute acoustic guitar and piano instrumental, which was originally intended for the ‘Folklore’ album. Somewhere along the way, Rikard developed his short instrumental into an epic progressive rock piece. Once we had received the initial demo from Rikard and had spent some time getting to grips with the complexities and twists and turns in the song, it was decided that, between the three of us, I would write the vocal melody and backing vocals and Greg would write the words. When I was developing the vocal melodies for A Mead Hall in Winter (which I demoed on the flute), I mentioned to Greg that the song reminded me a little of The Underfall Yard.DL
When David mentioned the connection to The Underfall Yard, I went back to that song and reminded myself of the words. The main theme of the lyrics is the concern that we are losing sight of the Enlightenment values which underlie much of the scientific and social progress that mankind has made in the last few centuries. I thought I would revisit that theme and explore it in greater detail on A Mead Hall in Winter.” GS
A proper ‘prog epic’ at over fifteen minutes, A Mead Hall in Winter is an early favourite of all the Big Big Train fans but, initially, it doesn’t grab me as I’m not a fan of the opening which I feel is a bit messy and almost sounds like an 8 bit Nintendo theme tune from the 80’s. Luckily, after 30 seconds or so, guitar and violin combine to good effect and, as far as I’m concerned, the blue touch paper is lit and we’re off. I love the way that the song seems to drop you slap bang in the middle of the Mead Hall, fire roaring, mead flowing and music playing, it’s really a rather immersive piece of music, one that asks the listener to get involved and become part off. David isn’t just the singer here, he’s a proper troubadour, a minstrel telling stories through the ages and his voice seems to go back in history to echo the early days of the band from ‘The Difference Machine’ and onwards. The captivating and addictive chorus will have you singing along with every word, the harmonised vocals are hauntingly memorable and the little snatches of violin and guitar are the glue that brilliantly hold it all together.
“Artists and dreamers and thinkers are right here by your side…”
Midway through the song we are treated to another entrancing and mesmeric instrumental section that leaves me open mouthed and slack jawed in appreciation. The vocals and instrumentals entwine and combine to deliver an intricate and yet amazingly accessible piece of music that demands to be listened to above all else, stop what you are doing and just concentrate on what is laid before you. The organ section that follows just leaves me transfixed as Rachel’s violin swoops in like Grimspound of the title and dances before your very eyes. Fifteen minutes of sonic delight come to a close with the beguiling vocals and enthralling music resounding in your ears, incredible stuff.
“All here is good,
still and quiet.”
“Sarah’s concept for the cover artwork of the ‘Grimspound’ album has always been that of a crow in flight. Amongst all of the pieces that we have written over the last few years about people and landscape and folk tales we have always featured some songs (or observations within songs) which are more personal in nature. This includes As the Crow Flies. One of the most profound experiences is caring for other people, whether that be for children or aged relatives or others who need support. As the Crow Flies is about the succession of moments of letting go as children prepare to take flight on their own.” GS
As The Crow Flies is perhaps the most personal and melancholy track on the album, when we talk of our children ‘flying the nest’ it is at once both a happy and sad time, it marks a big change in people’s lives and this song has a profound and yet and uncertain timbre to it, echoing perhaps the feelings when we must venture out on our own. The opening to the track has a very sombre tone to it, David’s vocal especially and the music feels like it is treading carefully, almost walking on metaphorical eggshells. The guitar work on this song is as exemplary as ever, almost as if the instrument is talking to you, an accompaniment to David and when Rachel Hall’s delicate voice joins in, it is a thing of ethereal grace and adds hope and longing to lift the feeling of loss that hung over everything. Ultimately our children are our hopes and our futures, we must let them out into the world to become what they are destined to be and to leave their own mark. The sentimental nature of the music and the vocals leaves its mark on my heart and soul and I’m left looking forward to the future, whatever it may bring.
‘Grimspound’ was a hugely anticipated album from one of Progressive Rock’s most revered bands and had to deliver on every front. And it has, many times over, songs like this are what have given Big Big Train the reputation they have today. They are not just music, they are historical tales that take that music and weave it around stories, factual and fictional, to deliver an deeply engaging and riveting spectacle that stays with you forever. This is one sandcastle that no tide will ever wash away…
You would never know it was there. The automatic sliding doors give no hint of the majestic secret hidden within. Originally built in 1863, Hoxton Hall is a wonderful example of a good old fashioned saloon-style music hall, the modest central stage fronting a spacious ground floor, with impressive cast iron columns supporting two levels of galleries on all three sides. The overall effect creates a casual, relaxed and intimate atmosphere and the eager audience complete the perfect setting for tonight’s launch of the remarkable debut album ‘Magnified’ from the thrilling Beatrix Players.
The hushed murmur of voices give way to a polite ripple of applause as they take the stage and a happy silence descends as the opening notes of the haunting Rushlightgently fill the room. The insistent call of the piano gradually increases in emphasis and urgency, matched by a vocal harmony which is initially delicate but also grows with a matching power and intensity. The unwavering menace of the cello brings a grounding strength and depth as the song builds to a defiant, majestic crescendo before, passion spent, it falls away to the tranquil calm of the beginning once more.
The effect on the auditorium is spellbinding: not for the first time during the course of the evening, people are utterly enthralled and completely captivated by the graceful energy and compelling spirit of the performance. The confines of the stage enforce a close proximity between the three main musicians, which in turn accentuates and highlights the wonderfully intuitive interplay and understandings which exist between them. There is a dynamic and deeply creative relationship between keyboards, cello and voice which is delicately attuned to the shifting ebbs and flows of the rhythms of each song and which is absorbing to see unfold.
They are joined tonight by Robyn Hemmings on double bass, Jez Houghton on French horn, Maria Kroon on violin and Emanuela Monni on drums and percussion. The subtle alterations to the musical arrangements for some of the songs are breathtaking in the impact they bring. The integration of the French horn and violin in particular are absolutely inspired, creating a more open and expansive soundstage which provides greater emotional resonance and clarity of expression. Never Again and Walk Away possess a biting vitality which is not as readily apparent on the album, but with these additions is an absolute pleasure to experience live.
During the evening we are provided with some unexpected treats in the form of songs from their original EP and a beautifully moving cover of Hurt before an almost apologetic and low key introduction ushers in All That Thinking. A song about female infertility and the impact it has on relationships, the performance tonight is emotionally charged and profoundly moving. The sheer extent of the impact it has on the audience defies description and I know I was certainly not alone in being overcome and shedding a tear by the often unspoken heartbreak it creates.
One further surprise remains in store for us as the raised dias behind the main performers fills with the arrival of the SOUND choir for the final three songs. Their presence and influence is striking and uplifting, bringing new dimensions and insights to songs which, as a result, carry an embracing immediacy and sparkling warmth. The mesmerising Ophelia and the sizzling encore Rosesspring to life with an astonishing and breathtaking vibrancy to mark the perfect end to a magnificent evening of stunning music.
A second concert has been announced for St Pancras Old Church on the 5th October 2017. Tickets are available now and I cannot recommend highly enough what a mesmerising, captivating and thoroughly enchanting experience awaits if you decide to go. Do not hesitate.
An Airbag is a device designed to save your life or reduce injury in the event of a collision.
Can music save your life? Who knows?
But life does does bring us in to collisions with all sorts of unexpected events and we try to find ways to survive or at least lessen the impacts. From the sound and themes of Bjørn Riis’ second solo album, ‘Forever Comes to an End’ , it does seem evident that perhaps life has been impacting upon him deeply, reflected in an emotional release. Emotion is not a word usually associated with the sweeping, glacial Floydian soundscapes so beloved of Airbag, but Bjørn Riis has successfully created a more personalised album, infused with fragile feelings and delicate melodies alongside his trademark architectural sonic structures.
Bjørn Riis is the main songwriter and lead guitarist of the Norwegian Progressive rock band, Airbag, and that background is very apparent in the style of this album, although title track Forever Comes to an End does open the album in furious and heavy fashion, exploding into action immediately with Henrik Fossum of Airbag pounding out insistent driving drums. The theme of broken relationships and loss, with musings on the tension between Love and Hate are starkly focused upon in this crunching number:
‘Fear, Do you Fear, Do you feel the hate…. But I’m scared to let you go out of my life…’
Bjørn Riis contrasts the darker hard riffing passages, reminiscent of Sabbath’s Toni Iommi, with occasional lighter, less intense shafts of musical sunlight, framing impassioned pleas to stay. Vocally Riis delivers this song, and the whole album, with a sense of beautiful melancholy and yearning. This is powerful stuff in more ways than one. The brief bleak interlude soundscape ofAbsenceatmospherically takes us to the emotive shores ofThe Waves, seguing with Ocean sounds as Riis intones mournfully :
‘I’ve been down for too long, I almost drowned,
There was darkness all around and it pulled me down to the deep’
InThe Waves there is a fragility and emotional intensity in Riis’ voice, akin to Tim Bowness of No-Man, which gives this album a sense of honest emotion and humanity, born from personal experiences, and moves parts of this album away from the now predictable trademark Floyd style so successfully produced by Airbag on their albums.The Waveswistfully fades as the tide of the song recedes with echoes of the cinematic soundscapes of Thomas Newman film scores.
Instrumental Getawayslowly builds and builds, with layers of guitars across a sweeping canvas on synths, until a break of echoing keys and percussion is glided over by an icy guitar line. The driving rock theme returns with added wah-wah guitar, outstanding drums and riffs that more than hint at Porcupine Tree, that all add up to quite a thrilling ride. Calmshimmers with delicate beauty with a simple piano motif and acoustic guitars over lain with flute sounding keys, and then the whole piece eventually drifts away in to the distance, virtually acting as a beautiful introduction into Winter, the centrepiece of the whole album.
A gentle opening adorned with lilting acoustic guitar, over lain with subtle, tasteful electric guitar dashes in the vein of Marillion’sSteve Rothery, express the contradictory emotional forces of resentment and forgiving, hate and love…
“Now she’s gone, but I still want her here, She stole my heart and she turned it into stone…”
This remarkable piece develops with increasing intensity as Riis builds with beautiful musical textures and Sichelle Mcmeo Aksum adds a female delicacy to the vocals, alongside Riis. The inevitable Gilmour like soaring lead guitar parts are used sparingly but effectively. Riis’ guitar is the main ‘voice’ in Winter as he uses it intuitively to emotionally express probably what words sometimes cannot say about broken relationships. A lovely bass line with uncanny echoes of Porcupine Tree’s classic ‘Dark Matter’ underpins the gradual elegiac disintegration of this great song.
A simple but touching piano melody by Simen Valldal Johannessen introduces Riis’ finely judged emotional vocal in the final heart-breaking song Where Are You Now. Flute like keyboards float over a gradually building theme before Riis emotively illustrates this emotional song with a glistening, gliding guitar solo. The song and album finishes as Riis’ fragile vocals lead to the simple stark beauty of the opening piano motif. Heart break seldom sounds so beautiful.
There will be inevitable comparisons by some to later Pink Floyd, and fans of that band will find much to admire and touch them in this album. Sonically the production is perfect – this drips with feeling and atmosphere. Some of the songs would also not sound out of place on an Airbag album, which is inevitable considering Riis’ main role in that band. However, there is much more to ‘Forever Comes to an End’ than a Floyd pastiche or just an Airbag album by another name. Riis has really put his heart on the line on this release and such emotion exudes from the imaginative music and heartfelt lyrics on this intensely personal album.
Will this album save your life?
Very probably not, but like an Airbag ‘Forever Comes to an End’ may very well stop you getting a headache (!!) and will certainly help you deal with the collisions and impacts of what life throws at us.
