Reviews – Page 79

Review – Damian Wilson – Built For Fighting – by Rob Fisher

I can’t help feeling there is something of an unfortunate disconnect between the expectations encouraged by the forceful and uncompromising visual imagery portrayed by the cover artwork and the reality of the music you find yourself hearing in light of those expectations. Whether this is something to do with a perception of Wilson’s image or persona because of his involvement with the heavier leaning music of Threshold or Headspace I’m not sure, but the overt portrayal of aggression and machismo is thoroughly unhelpful and actually serves to undermine what is an exquisitely compelling and unexpectedly beautiful album.

Wilson explains the rationale underpinning the album as giving voice to the daily experience of trying to carve out a meaningful, secure and even happy existence against all the factors and forces which are ranged against us. “Life is a fight. A never ending brawl and struggle to find a little peace.” The theme is certainly reflected in a lot of the tracks which appear on the album and goes some way to at least partially explaining both the image and the implied attitude which adorns the cover.

Yet you only have to listen to the elegant and graceful lyrics of the sublime Battlelines (Track 12) to understand that Wilson’s heart lies in an all together different direction. “It seems to me that through all this fighting that, mores’ achieved by words and writing than, any bullet fired through war and rage”. Or again: “I understand though I don’t like it that, we were made and built for fighting but, can’t we put those tanks and bullets away”. And then we reach the repeated refrain: “So what if we believe it’s all magical, If it was up to me, watch the mighty fall, we would all stand back and just laugh at war”.

Such an imploring and impassioned cry from the heart, reflected across so many of the songs on this staggeringly poignant album, gives voice to the crisis and the dilemma which shape and form the music and the lyrics. On the one hand the reality is that life is a battle, a fight, brutal, tough and unforgiving; on the other there is the recognition that actually all this is a senseless folly, meaningless posturing, a futile waste. There is a better, kinder, gentler and more human way of living. And it is the tension created from understanding that both these views hold true which lies at the heart of this remarkable and at times heart-breaking release.

Two things quickly and forcibly strike you when you spend time with this album. The first is just how dramatically expansive and passionately expressive Wilson’s voice really is. Superb recording values let you hear with crystal clarity the incredibly diverse range he brings to each song, from the gentle and emotionally nuanced ballads all the way through to the feisty, rugged and good old fashioned heavy rock anthems. The vocal performance elicited by and expressed through the music is simply magnificent, a joyful master class which is a delightful privilege to hear, appreciate and enjoy.

The second is the sheer lyrical brilliance which shines so brightly throughout the album. Initially it is difficult to appreciate the hugely perceptive levels of insight, acumen and plain common sense wisdom which are carefully crafted within each song because your attention is always diverted elsewhere by other things. But the more you listen, the more you begin to pick up phrases and notice sentences which in turn lead you to pay a lot more attention to the skill and care which has gone into the song-writing.

‘Built For Fighting’ is an extraordinary achievement on many levels, not least of which is that it is a gem which hides in plain sight and runs the risk of being ignored precisely because of that. It is fiercely honest, impressively direct yet for all that, expressed in and through music which is delicately sensitive, powerfully moving and strikingly touching. By the end it leaves you in little doubt that it is a labour of love which rightly and quite unapologetically wears its heart on its sleeve.

I will be honest and say that on first listen I was distinctly unmoved, primarily, I suspect, because the combination of the cover in tandem with my existing familiarity with Wilson’s other work means I came in with all sorts of preconceptions which just didn’t gel or match up with the music I was hearing. It was quite an unexpected jolt, that is for sure! Now, however, I find I have fallen for it hook, line and sinker to the extent that it definitely stands as a significant contender for album of the year. Let it charm you, let it lure and entice you; you certainly won’t regret it.

Damian Wilson: vocals

With:
Lee Pomeroy – bass
Bill Shanley – guitars
Adam Wakeman – keyboards
Brian Willoughby – guitars

All photos of Damian by Marleen Den Brock Photography.

Released 9th September 2016.

Buy ‘Built For Fighting’ direct from the artist

Band Website: http://www.damian-wilson.net/
Facebook: http://www.facebook.com/officialdamianwilson
Twitter: http://www.twitter.com/damian_wilson
YouTube: http://www.youtube.com/damianwilsonofficial

Review – Encircled – The Monkey Jamboree – by Kevin Thompson

It’s always nice to be appreciated for things you do, to be recognised for contributions you make. So I felt quite chuffed when Scott Evans of the band Encircled contacted me direct and asked would I consider doing a lead review of their new upcoming album ‘The Monkey Jamboree’. The initial elation then moved to trepidation as I realised the band had entrusted their blood, sweat and tears to my hands (I’ll wash them afterwards) and what if I didn’t like it or thought it couldn’t match their previous output? Ah, the heavy weight of responsibility.

Scott sent me the files including the cover (from the talented fingers of Freya Evans) which immediately struck me that it could have been a cave painting featured in Planet of the Apes, with See no Evil, Speak no Evil and Hear no Evil adorning the front. I mentioned this to Scott and he explained “It’s a little nod to us being deliberately ignorant in our music to all that is going on in the world, like the anti ‘FEAR‘, (Marillion‘s latest delicious release and castigation of the human race), which on listening to the CD bears similarities at times in the style of music.

For those that don’t know the band are:

Mark Busby Burrows – Vocals and Guitar

Gareth Evans – Lead Guitars

Scott Evans – Bass/Keyboards/Programming

Stuart Picken – Drums

With Backing Vocals and Flute from Kym Hart.

This is not an album to rock out to and you will not get whiplash from throwing shapes with your waist length hair (ignoring the balding patch on top), in fact it’s the perfect antidote to this time of year as the weather worsens, the nights close in and the temperature drops. Grab yourself a large glass of red or in my case a good couple of fingers of single malt from the bottle on the table and close the shutters on the windows. Stoke the open fire in the hearth, dim the lighting and curl up on the sofa with a blanket. Slip the CD in the Hi-Fi and press play……

The short, understated title track soothes you in with Mark’s warm vocals as you take a large sip of the amber nectar and feel the glow as it slides down your throat. The gentle vocal harmonising between Mark and Kym relaxes you further into the cushions, the song trailing away on a lingering note.

Echoing notes intro and the guitar and vocals convince you this is ‘Alphabetically Possible’, in the second track that has more than a whiff of the lighter side of John Dexter Jones and Jump. Your toes will tap under the blanket to the beat of Stuart’s drums, as the shadows formed by the fire flutter on the ceiling above your swaying head. Listen to Gareth’s first solo, joined with Scott’s keys whilst you refill the emptied glass.

Close your eyes and ponder on the ‘Complexity’ and pace of life as you sink another shot. Decisions to make, he (or she) who hesitates…overrun, overlooked, forgotten, lost. The highs and lows, make the most of the good times as there’s always someone to take your place, on this really smooth track with some great laid back guitar work from Gareth.

Grab yourself another snifter, a glance at the fire sees the flames dance as the foot tapping starts again to ‘Stereochrome’s‘ funky little rhythm. Ruminate on the fact some people thrive on the modern pressures of life to the extent they can’t live without them, but not you at the moment. Recline and revel in the OMD like keyboard solo from Scott sliding into a Dr Who soundscape and ending on another fine guitar solo.

You begin to find the warmth of the whisky and heat from the fire quite soporific, lulled by the piano keys, make the most of this moment, this ‘Magic Hour’. Enjoy the soothing sounds of Rothery type fretwork, the gentle pulse of Stuart’s drums and Scott’s bass. Make the most of what you have now as everything must end, but maybe not until……

‘Tomorrow’ on the penultimate track which, after a few brief strummed chords, raises you from the reverie with a little more upbeat musing on the delicacy of relationships. Should we cling on or hold too close to be singed by the spluttering flames of a needy relationship? Treading on eggshells, will it fall apart acrimoniously and can we not stay friends? Just a little sip.

You wake to find the room dark, only faint embers glow in the hearth and the temperature has cooled. Your head is filled with cotton wool as you survey the empty tumbler alongside the discharged bottle and try to piece together your thoughts on ‘A Life Shy of Perfection’. You rise, stretch then quell the remains of last night’s fire. Fold the blanket as you ponder what you have lost and how direction-less you have become. Make your way across the room and open the shutters on the grey streaked clouds of the winter morning as the last chords of acoustic guitar prod you to face the day ahead.

You pick up the glass and bottle then make your way from the room switching off the dimmed lighting and try ‘Chasing the Ghost’ in your fogged brain as you make your way along the hall. Pale, milky light drifts in through the glass panes of the front door casting a faint shadow ahead of you as you retreat toward the kitchen and the tune builds. Your bare feet drop the step into the kitchen, slapping on the chilled tiles. The shock makes you shake yourself in an attempt to disengage the monkey swinging from the branches of your brain. The bottle is discarded in the recycling bin and the glass shunted next to the pile of dishes by the sink from the day before. You’ll wash them later, no time now. You pause briefly to look out at the sodden leaf smothered garden before turning to retrace your steps down the hall and up the stairs for a shower as the last song nears the end in a duet of piano complemented by Kym’s flute. You close the bathroom door as the album ends on a single tintinnabulation. Time to get going.

This is not an album to break new ground nor will it have you dancing round the room. Tempo rarely breaking above a sway, it’s a slice of sublime relaxation, to kick off your shoes and relax to. It will keep me company on many a dark winter’s night and should it take your fancy as the tipple of choice, drink well of it’s smoothly distilled texture and feel the glow inside.

I’d like to thank Scott and the band for entrusting me with their latest blend and raise a glass to toast them, on an album well refined and produced by Shaun Lowe.

If you want to know more you can check out:

Twitter@encircledtheband

https://m.facebook.com/Encircletheband

https://encircled.bandcamp.com

Review – Maschine – Naturalis – by James R Turner

Formed around the nucleus of insanely talented guitarist Luke Machin, and bassist Dan Mash (both of whom have played with artists like The Tangent) their debut album ‘Rubidium’ was released in 2013, and in an unrelated interview with Andy Tillison; he told me that I needed to listen to that album. Now when Andy Tillison recommends something you listen to it, and you know what, it didn’t quite grab me initially where it should have done. Don’t get me wrong, it’s a great debut album and Maschine are an insanely talented group of young musicians, but, for whatever reason whilst I enjoyed it, I never ‘got’ it.

However, this, only their 2^nd album (and by some of the music on here, and the intricate blends of sound, would make you think they have been playing together forever) got me from the start, (so much so that, time permitting, I will be revisiting ‘Rubidium‘).

This 5 piece, formed at the Brighton Institute of Music in 2008 feature, as mentioned earlier, the talents of Luke Machin on guitar & vocal, Dan Mash on bass, James Stewart on drums, Elliott Fuller on guitar and Marie-Eve De Gaultier on vocals, flute and keyboard.

With a diverse range of influences across the board, and playing styles throughout the band, their real skill is pouring all these un-distilled musical ingredients into their crucible and creating a striking and original sound.

The 6 tracks on here, (the shortest clocking in at over 5 minutes!) all relate to natural events and the interaction between nature and all it can throw at us. This isn’t a concept album as such, but more connected events around which the songs are allowed room to breath and develop.

Boy do they develop, the opening 11 minutes of Resistance, mixes in the beautiful guitar work that both Luke and Elliott bring to the branch, the whole gamut of musical styles and influences creatively held together, with more ideas to spare in these 11 minutes than a lot of bands have in 11 years. The most effective weapon Maschine have is the contrasting vocals of Luke and Marie-Eve, which works together in creating some beautiful harmonies and interesting, counterpoints. And that’s just in the first 11 minutes!!

One of my favourite songs on the album, Make Believe features some amazing vocals from Marie-Eve, with a wonderfully slow build up, whilst the keyboard textures and powerful drum and bass combo of Mash and Stewart hold the piece together allowing an astonishing solo from Machin to burst forward.

The other epic on the album, the closing 11-minute Megacyma recounts the story of the Japanese Tsunami of 2011 through one mans eyes. What a mighty storm of sound they create as the song builds to its climax. They pull out all the stops here, with hints of 70’s classic prog keyboards, heavy riffing and some intense electronic walls of sound, whilst the two voices combine to create a fantastic sound, and the symphonic edge to this mighty finale is absolute perfection.

Of the other tracks on the album, Night & Day with it’s aural soundscapes and WWII story is contemporary prog storytelling at it’s finest. Hidden in Plain sight combines many disparate influences into the nearest they get to a pop song, with some fantastically funky drumming from Stewart and more of those wonderful vocals and Whilst A New Reality is Maschine’s sound in microcosm, featuring some wonderfully fluid guitar, fantastic symphonic keyboard work, and the sound of a band firing on all cylinders.

It’s absolutely fantastic that nearly 50 years into the genre we call prog that there are immensely talented creative musicians of this calibre who are prepared to take risks and imprint their musical vision on the genre instead of being held back by the genres self imposed limitations and sounds.

Maschine truly are the future, and this album will firmly cement their reputation as one of the finest bands in this (or any) genre.

A last minute ball over the line for album of the year? Got to be a contender…

Released 18th November 2016

Buy ‘Naturalis’ from Burning Shed

Review – John Wesley – a way you’ll never be – By James R Turner

Those familiar with the work of Steven Wilson or Fish will know the name John Wesley, a prolific and talented American guitarist and songwriter whose been on the road supporting artists like Marillion and Steven Wilson, whilst also touring as part of Porcupine Tree, and has built up a solid reputation as a go to guitarist.

This latest album, his 8^th and first since 2014’s ‘Disconnect’ see’s him successfully bringing together both sides of his musical personality into a song cycle that echoes the short stories of Ernest Hemingway, the title track, a way you’ll never be is named after one of Hemingway’s more famous short stories and focuses, with it’s driving guitar and pounding choruses, on the current fascination for being an online expert on everything, without ever having actually done anything.

The album is far heavier than it’s predecessor and features some strident and aggressive guitar work from John, with the metronomic and Floydian guitar work on to outrun the light being one of the stand out tracks on the album.

Never one to stand still, or indeed make the second record twice, John is as interesting a lyricist as a guitarist, and his lyrics particularly on the silence in coffee and the revolutionist stand out, the latter having some astonishing staccato call and effect guitar work with the drums pounding out a King Crimson esque beat, before some smoothly fluid guitar work shines out.

This album is all about John Wesley the guitarist, and fits more in line with some of the more intelligent stadium rock, and that is by no means lazy labelling or a criticism, this is an album full of mighty mighty sounds, and big ideas and concepts, some heartfelt, some scathing. The brilliant sole instrumental unsafe space is Johns take on the ‘pampered millenials’ or ‘snowflakes’ as they call them stateside, banning things from campus because they disagree with them and shutting down free speech. It is also a jarring thing of beauty, where John lets his guitar do all the talking for him.

This is an album that is as progressive as it gets in the truest sense of the word, an artist moving forwards, making records the way he wants to make them and taking the audience a long for the journey, it is also a success in the way it marries Johns well observed songwriting with his sublime guitar work.

Released 7th October 2016

Buy ‘a way you’ll never be’ direct from John Wesley

Review – Arcade Messiah – III – by Progradar

“We are consciousness examining and expressing itself so that it can become increasingly aware of its infinite capacity for being and evolving.”
― Jay Woodman

On the 11th of December this year I shall return to The Bedford in Balham to attend the Masquerade one day festival. This will be the first time I have attended this music venue since the life-defining four days of the Resonance Festival in August. 2014.

Suffice to say those wonderful four days really were my epiphany when it came to the world of music that I now find myself deeply involved with and I will never forget the people I met over that weekend, many of whom have become very firm friends.

My musical tastes and my writing have definitely evolved and progressed since that time and it would be fair to say that the majority of musicians that performed at the festival have developed further and matured as artists as well. One musician I was keen to meet there, and one whose career I have followed before and after Resonance, is John Bassett, erstwhile driving force behind the band KingBathmat and the solo instrumental project Arcade Messiah.

It is the third album (imaginatively called ‘III’) from this solo project that I am reviewing today but, as ever, first we must have some background and history…

John Bassett is an English multi-instrumentalist and producer who currently resides in Sligo, Ireland. Primarily known for writing and producing the music for cult Hastings band KingBathmat, his most recent project Arcade Messiah blends Post Rock, Metal, Doom and Stoner rock into a heavy intoxicating instrumental brew.

All instruments on the Arcade Messiah albums are played by John alone and released through his own Stereohead Records label, making them very much independent DIY releases.

‘III’ is the third Arcade Messiah album in as many years to be released by John Bassett and he had this to say about the album;

“Arcade Messiah III has certainly been a labour of love for me, this is the most I have refined a record to the degree that I have done with this album, I incorporated many new production techniques and have learned a lot from the experience of putting this record together. I’m very excited to release this out into the wild and I hope you guys enjoy it.”

I reviewed Arcade Messiah ‘II’ last year and had these words to say;

“A ‘Wall of Sound’ that makes Phil Spector’s look like a diminutive picket fence and it is quite possibly the best thing this highly talented musician has ever produced.”

John is going to have to go some with ‘III’ to improve on that…

Revolver powers in with an immediate blow to the solar plexus from a monstrous riff that just carries all before it. The cacophony of guitars and drums that follows is just deliciously intense and mad surging ahead on a humongous soundwave of monumental noise and then, hark, what is that? Vocals, yes vocals! but only for a short while and, once you’ve got over the shock, it’s back on the proverbial manically enjoyable hell ride of musical virtuosity. Such a dense and compact sound, it really does pack a powerful punch and the coruscating guitar breaks just add the final touch of demented class. There’s a short break of a more delicate variety but, as it all comes to a close, it’s all you can do to stay upright in the face of such a pleasurable sonic onslaught.

Citadel, even the word conveys thoughts of a steadfast, immovable structure, one that has stood the test of time, war and destruction over a span of centuries and this track lives up to that definition. There is an age old primordial and primitive force at work here and this absolutely gigantic and rudimental riff feels like it has spanned the ages with its weighty and portentous feel. Now you know what Atlas felt like carrying the Earth on his shoulders, there is a supreme density and weight of knowledge at the core of this thunderous song. Almost a soundtrack to the age of Knights and siege engines, it pins you to the floor with its substantial tone. There’s a lull in the middle, like a break in the never ending battle between good and evil, before the dynamic drumming joins the compelling guitars and the hypnotic music powers on. To use a well known phrase from Queensryche’s ‘Empire’, it really does ‘…hit you like a ten ton heavy thing…’

The longest track, coming in and just over ten minutes, Deliverance is, in my opinion, the best track that John has produced as Arcade Messiah. A slow burning, slightly hesitant opening of piquant guitar notes over shadowy keyboards gives an air of mystery and intrigue. The tempo increases with the jingling guitars leading the way, you almost feel like you are being taking on a journey, one where you have no idea of the destination. For those of a certain age, the title will bring thoughts of Burt Reynolds and hillbilly America and you do feel like you could be lost in the deep forest with all sorts of creatures watching your progress waiting to pounce and the tension increases when the riffs begin, aggressive and potent. There is an urgency to the guitars now, both more critical and serious as the overlaying vocal of the title rings out. It is a rush to find succor and shelter, to escape the unknown that lurks in the dark behind the trees and your heart beat increases to match the pace of the music. This song really does get you involved, placing you right in the middle of proceedings, the hunted trying to outwit the hunter, it is really clever how you find yourself as the centre of all that is happening, hanging on every sound and, as the last notes ring out, relief just washes over you.

The feel changes a bit with Life Clock, there is still that vitality and depth to the music but the monstrous, mountain toppling riffs take a back seat for once. A pensive, thoughtful tone exudes from the guitars and seems to soften the sharp edges of the tones coming forth. A feeling of treading water ensues, anticipation or meditation? who knows? I feel an expectation in the air, contemplation of what has gone before and, also, what is now to come. Like the ticking of a clock in a silent room, time still passes whether we are there to observe it or not and, while we live our lives, the days, months and years will continue to accumulate. It is only music, no words, but I get the feeling that we are being taught a lesson here, don’t let life pass you buy, live every moment with no regrets as we are a long time dead, the pugnacious riffing and energetic drumming that close out the track seem to imply that time is running out to do so…

Crunching riffs, immense in scope, lead in a towering tsunami of sound as Black Tree lurches in to view, like some vast mammoth of noise. It almost overwhelms you with its intensity yet you would die happy, like a man drowning in vat of the best malt whiskey. There are the odd interludes where the ferocity and tension lull for a short while but the potent fervor is soon ramped up again and the substantial music regains its impetus and momentum and rides roughshod over all that is unfortunate to get in its way, the unstoppable dominance there for all to see.

After the forceful intensity and enduring dominance of what has gone before, Sanctuary is exactly what you need and it is delivered beautifully by the closing track to the album. A delightful blend of guitars, drums and keyboards that has a soothing effect on your bruised mind and soul. The elegant guitar tone still has a life and vibrancy to it but, this time, it is not trying to pound you into submission. The drums are composed and precise and add a cultured layer to the track and mean it is one that you can let wash over you and reinvigorate you, it is still, obviously, John’s distinctive sound but with a restrained and relaxed feel to it. Don’t get me wrong, I love the huge, continent crushing sound that this amazing musician can generate but this just ends the album on such a lovely, high note and works perfectly.

So does ‘III’ improve on ‘II’ or is it left trailing in its wake? There’s a subtle change of tack going on here as well, a more mature feel to the music, John Bassett can riff with the best of them but has added other strings to his bow in his continual quest to improve as a musician, he has evolved once again with this excellent release, he is really at the top of his game and making his ‘Wall of Sound’ become even more of a unique and elemental force. If I did ratings this would be 9/10 without any argument whatsoever.

Released 25th November 2016.

Buy Arcade Messiah ‘III’ from bandcamp

Review – Seven Impale – Contrapasso – by Shawn Dudley

The opening lurching guitar/organ riff sounds like the amplified machinery of a giant steamship; bellowing, relentless, ominous power. Then it morphs into a straight, almost funky propulsive groove with some very tasty organ comping while various synth and vocals effects weave in out of the background like a swirling mist.

The vocals of Stian Okland float in over the groove sounding not unlike a Satanic Jim Morrison, like a dark mirror image of The Soft Parade; simultaneously eerie and darkly comic. Saxophonist Benjamin Mekki Wideroe makes his entrance next with a frenzied atonal break. Underneath the vocal line the linear progression of the piece continues to build in intensity, the groove turning ominous, dissonant snatches of piano and sax riffs stab through creating a frenzied whirlpool.

A melodic organ & sax unison line enters and holds the arrangement together, keeping it from exploding into complete cacophony. Then it stops abruptly, giving the listener a split second to inhale, before a crushing doom riff hammers down…

That describes just the first four minutes of Lemma, the opening track of the joyously insane ‘Contrapasso’, the second full-length release from Seven Impale. This young sextet from Norway has hit upon a really potent recipe, an almost dizzying combination of influences they’ve managed to assimilate and combine in consistently surprising and effective ways.

It’s fiery, intense music, but it’s so much fun that it’s accessible despite the artfully schizophrenic arrangements. From an instrumental standpoint Seven Impale employs a mostly analog approach; Hammond organ, vintage synth and guitar sounds, saxophone, and they occasionally sneak in some more modern touches. But this is not a retro band; this is a young adventurous group that’s unafraid to be daring, to experiment and most importantly to have fun doing it.

A key factor with their sound is how the saxophone is employed. While I’ve heard saxophone featured in a few progressive rock albums this year (Knifeworld, Thank You Scientist, etc) it’s primarily fairly straight-ahead in approach. Seven Impale is one of the few newer bands I’ve heard that gravitate more toward the avant-garde jazz albums of the late 1960s for inspiration.

For the most part it’s not completely outside, but more in line with players like Archie Shepp or Pharoah Sanders. The jazz quotient on ‘Contrapasso’ is intrinsic to the success of these compositions. The majority of these songs aren’t based on traditional verse/chorus structure, but the saxophone is often used in conjunction with the keyboards to carry the melodic thrust of the song, while the vocals provide commentary.

When you combine those elements with the 500 ton weight of the guitar sound (a vicious combination of King Crimson and Anekdoten) it’s a beautiful noise. It hits the sweet spot where the saxophone fuels the experimental portion while the guitars keep it primal and firmly rooted in rock.

The album is not without its catchy moments. Inertia grooves along on a heavy guitar/sax unison riff that would probably sound fantastic in a live setting and the brief chorus is infectious. The mid-section is a fiery jam and guitar solo feature, which tips a hat to Fripp & Co. After a return to the main theme it slides into an effectively trippy psychedelic section that features some lovely keyboard & vocal harmonies before seguing into an appropriately epic, melodic conclusion.

The remainder of the album unfolds along similarly complex and intriguing lines. Like a puzzle that keeps revealing more and more levels of complexity it’s an album that takes some effort. But what I love about albums this dense is that each time you play them some new moment jumps out.

I love the whole record, but there are a couple tracks that really stood out to me.The first is Langour, which brilliantly captures the juxtaposition between the beautiful sax & cello melody and the crushing metallic guitar riff, it’s a perfect demonstration of the power this group can wield. The other is the mind-bending Helix. It’s built off the simplest of structures, a repeated keyboard riff that is methodically augmented with other instrumental voicings and increases in intensity like a storm building before the deluge. If the description sounds dramatic that’s because the music does as well.

It has been awhile since a new band has really hit me with the audacity of their approach and how effortless it seems. Seven Impale is the kind of band that reminds me that experimentation, even if it’s experimentations within existing sonic frameworks is not impossible. There are still fresh avenues to explore within the progressive rock realm, I hope Seven Impale continues the search for a long time to come.

Released 16th September 2016

Buy ‘Contrapasso’ from Bandcamp

Review – Sonata Arctica – The Ninth Hour – by Kevin Thompson

Prog/Symphonic Metal is a crowded market and each band has their devoted following. I have my favourites, fully aware there are many more out there doing well for themselves in this genre that I have never heard. It doesn’t mean they aren’t any good or they do not tickle my earbuds, merely the fact I can only listen to so many in the time I have.

And so it is with Sonata Arctica, a lively bunch of lads from Kemi in Northern Finland. The roots of the band grew from a hard rock band Tricky Beans formed in 1995, changing direction and band name to Sonata Arctica (on the suggestion of a friend) inspired by fellow Fins Stratovarious.

With emphasis on the strong keyboard/keytar melodies of Henrik Klingenberg, bolstered by Pasi Kauppinen’s bass and Elias Viljanen’s guitar rhythm line, Tommy Portimo’s ice shattering drums line up alongside Tony Kakko using both his cool falsetto and tenor voices (fleshed out further with backing vocals from the rest of the band) to bring a heavy snowstorm of sound across the frozen wastes for your pleasure.

‘The Ninth Hour’ is also their ninth album, funnily enough, but it is also a reference to the moment Christ is said to have died on the cross. Whilst not religious Tony Kakko says it echoes some of the lyrical themes and also inspired the idea for the rather fabulous album cover painted by Toxic Angel. It can be seen as a metaphor for a society skirting the edges of war again, in a world where environmental pollution is a daily concern and people ignore the damage we cause to Mother Nature at our peril, a common theme for many bands recently.

It’s a very polished album from a band confident in their sound with the songs never seeming downbeat, whilst the lyrics may illustrate the doom ridden earth we are creating. The quality of music shows why they have been asked previously to tour with their fellow Fins and Nightwish among others.

Closer to an Animal, first track and single is not as heavy as I expected and at times reminds me of Magnum in it’s structure. A lively little number to start and sets the tone for the album with swathes of Henrik’s keys and flourished guitar soloing from Elias as Tony warns we abuse what we have.

There’s a slight Celtic feel in places as Life starts with a Nightwish style introduction on this warm song encouraging you to live your life, blowing away the cold icicles of day to day mundaniety from your mind.

Don’t believe all you are told comes the warning in the chilling Fairytale, blindly following like sheep and allowing ourselves to be manipulated by those corrupted with power. Edited, this catchy number would make a good single with it’s sing along chorus and it is one of my favourites on the album.

Time to seek shelter from the cold and relax in warm comfort to contemplate why We Are What We Are, the destroyers of worlds. Can we turn it around? Is it too late? Can we save what we are losing on this powerful refrain to the Earth.

Thrown from our reveries into the Arctic winds of tumultuous affairs of the heart, Till Death’s Done Us Apart sees us stung by the frozen crystals of emotion as they get buried in the snowy drifts of rampaging instrumentation. As the evening closes in we find ourselves Among The Shooting Stars. Tinkling keys echo in the night on this rock ballad full of streaking lights of emotion and rousing chorus as you wander under the moonlit sky, the warmth of love protects you from the chill.

A Husky sled full of guitars hurtles towards you in Rise a Night, to carry you across the glistening flows of ice and snow. The evening air rushes past with Kauppinen’s bass heightening your senses on a flurry of guitar riffs as the vocals whip around your head, whilst the the thrumming of Portimo’s drums like sled rails bouncing across the ground, quicken the pulse and spray key-notes into the atmosphere. A ride of pure adrenalin before you Fly, Navigate, Communicate and you ease to the steady pace of a fairly generic rock song which then picks up in the latter half. Whilst Tony’s vocal range is displayed extensively on this track it feels like an unused tune from a Europe album and the singing doesn’t quite match Joey Tempest.

Lights flicker in the darkness as Klingenberg’s piano plays on the Candle Lawns, issuing in the lovingly written ballad on this Finnish fairytale of an album, caressed with sweet soloing guitars on a track reminiscent of Darren Wharton’s ‘Dare’.

The lapping waters of an icy sea and cries of sea-birds carry us on to the epic track White Pearl, Black Oceans Part II “By The Grace Of The Ocean”, which I believe is a sequel to a track of the same name on the 2004 album ‘Reckoning Night’ (that’s my homework done). Steadily building orchestration and delicate keys, interwoven with heavy guitars and lit by a fireball of a guitar solo from Viljanen, mid-tune, reflecting on the ocean of sound around him as the song sails away.

Which brings us to the grand finale as we cruise On The Faultline (Closure To An Animal), a crowning glory to a frozen throne. It feels like all the previous tracks were made to lead to this on a song which starts with piano led vocals so dramatic they could have been written for a West End premier musical production. It slowly drifts, so gently you struggle to remember when the the rest of the band join in so seamless is the transition on this delicate, heart-achingly beautiful tune. Then as if snatched by a last chilled gust of wind it fades away the final notes dissipating in the rarefied atmosphere as a distant whistle signals a close.

This has been an adventure for me, guided warmly through this wintry landscape of an album warning of portents we bring upon ourselves, the variations catching my ears and nestling in my head. I shall definitely be giving this a few more spins and if you are a fan of the sub-genre then I can heartily recommend ‘The Ninth Hour’.

Released 7th October 2016

Buy ‘The Ninth Hour’ from Nuclear Blast Records

Review – Bad Dreams – Déjà vu – by Progradar

“When life gets too much and you just want to get off the ride, remember, there will always be music…”

Indulge me if you will, this morning I was pounding away on the cross trainer at the gym, watching Saturday Kitchen. Glynn Purnell was talking to the great Suggs from Madness and Big Big Train’s ‘The Underfall Yard’ was playing on the iPod.

Those who have heard the song Victorian Brickwork will know where I am coming from when I say that, as the scintillating and very moving brass section begins towards the end, time literally stood still and a warm feeling of contentment washed over me. I forgot about US elections and Brexit and all the other ills that seem to blight this world at the moment, all that existed for me at that very moment in time was the music and the music was everything.

Music has the power to make our lives better and almost become tangible, a physical and substantive force for good and I thank whatever high power may be up there that it has become part of my life in a very concrete and irrefutable way.

Today I am writing a review of the forthcoming new album from Argentinian progressive rock band Bad Dreams and ‘Déjà vu’ is a release that evokes similar emotions in this aging wordsmith.

Bad Dreams consists of Gabriel Agudo (Lead vocals and guitars), Jorge Tenesini (keyboards, synthesizers and programming), Alex Calvera (Bass and Moog bass pedals), Ariel Trifunoff (Lead guitars and backing vocals), Fernando Cornejo, (Drums and backing vocals).

Now for an edited history lesson taken straight from the band’s website…

Bad Dreams is the first Latin American classic and prog-rock band to triumph outside the continent. Hailing from Argentina, and comprising five accomplished musicians, they began their prolific career performing Genesis‘ music for a period of more than 10 years, a venture in which they attained worldwide recognition by fans and Genesis members alike; being mentioned in the official website of Genesis and Steve Hackett.

Wanting to spread their wings even further, they took a big undertaking out of their comfort zone in 2014, and released their first album with their own original music entitled “Apocalypse of the Mercy”. The album garnered worldwide recognition among classic and progressive rock fans, and Bad Dreams opened for Steve Hackett and played alongside Steve Rothery and his band during the South American leg of their world tour.

2015 marked a milestone in Bad Dreams’ history, when they became the first Latin American band to take part of the prestigious Cruise to the Edge celebration. After Cruise to the Edge the band played a single show in Miami, and later embarked in tremendously fruitful Central America tour, visiting Panamá, Guatemala, Honduras and El Salvador, before locking themselves up to start working in their sophomore album, entitled “Deja Vú”. The new album will feature Steve Rothery as a special guest, playing an otherworldly guitar solo on the album title track.

https://www.youtube.com/watch?v=f9wGTsErPuA&feature=youtu.be

Bad Dreams have been once again invited to the next iteration of Cruise to the Edge to take place in February 2017, this time around again including the cream of the crop in the prog-rock scene.

Opening track Samurai of the Rising Sun has a slow burning opening, all mysterious and enigmatic, setting the scene for what is to come with it’s strange, almost sci-fi feeling sound effects. The brooding guitar and keyboards ramp up the tensions even more before a staccato riff trades off against some rather nice swirling keyboards. Gabriel’s vocals begin and he has a really passionate vocal style that works brilliantly with the music, holding you in its sway. There’s a feeling of treading water, as if you are awaiting something but it is a very pleasant wait. The music just seems to flow along delightfully, it is immediately obvious that these musicians are technically very efficient and yet their playing also has huge amounts of soul. The song opens up with some gusto with fiery guitars and intricate keyboards and Gabriel’s vocals go up another level, this is classic progressive rock done with a large amount of flair.

So, onto the title track Déjà vu and it is immediate from the first notes that you realise that this is something very special. Ariel’s guitar and Jorge’s keyboards are full of an intense passion and the music really invokes some heartfelt feelings in you. I was hooked from the first time I listened to this song, Gabriel’s voice is almost a lament, full of fervor and a melancholy intensity. This song should be listened to in a dimly lit room, headphones on and a glass of your favourite tipple, it would suit a dark and cold winter’s evening, keeping you warm against the chill outside. Fernando and Alex lead the rhythm section with aplomb before the track builds up with even more added fervor, the keys really driving things along and the vocals taking on more magnitude and severity. To me, it has touches of Fish era Marillion and when Steve Rothery starts to play his utterly mesmerising solo, that comparison is fully realised. His guitar seems to take on a life of its own and I just sat there completely astounded by its brilliance. That’s not to take anything away from Bad Dreams, this is just the cream on the top of a completely enthralling song.

Fallen has a very intricate opening that blossoms into a really powerful track. The guitars, keyboards and rhythm section hit you with a forceful blast before things settle down in to a cryptically esoteric verse. The power returns on the compellingly dominant chorus. Think IQ meets Gabriel era Genesis and you wont be far wrong, I really like the way the song flows and Gabriel’s vocal takes on a a darkly authoritarian tone, as if he is reading from a dark book of secrets. Things move on in a tide of Delphian abstruseness, there’s a perplexing conundrum at play here and you feel that Gabriel is the main antagonist in a play that has a veil of secrecy around it. Ariel’s solo is thing of wistful delight, adding to the riddle posed, and insinuates itself into your psyche before the song bleeds out to a subtle close.

Another serpentine opening introduces Song For Augusto, another brilliant nod to the classic progressive tracks of the 70’s, with a touch of Yes (Soon, if I’m being precise). It meanders around your mind before the winsome keyboards begin and give some direction with their captivating feel. The next part of the song has Pink Floyd writ large above it, the drums and keyboards are absolutely spot on and I can’t help but nod the skill on show. The vocals are emotive and impassioned and add another level of polish to this already impressive track. There’s an urgent feel to the next section, the guitar almost feels sentient as it prescribes every note and then the keys open up into a great organ sound before Ariel gives us a seriously poignant and powerful guitar solo that stays long in the mind after this track comes to an imperious ending.

Moonlight is just over 3 minutes of Ariel Trifunoff’s enchanting acoustic guitar, a whimsical instrumental that has bucket loads of charm under its captivating exterior. A really engaging track that leaves a calmness in your very soul as it passes through your life.

The upbeat feeling carries on with the cheerily satisfying A Trick Of The Wind, a song that is, to my ears, Bad Dreams’ homage to early Genesis. Gabriel even sounds a bit like Peter Gabriel and the guitars have a real Steve Hackett tone at their core. Underneath that charming exterior is a more serious side though and it shows its face now and again. The keyboards really come to the fore in the second half of the track and the interplay with the guitars is sparkling and gives a real polish and refinement to this cultivated song, Tony Banks would be proud.

And so to the last track on the album. Frida is a graceful and tender love song full of sparkle and wit as it dances across your aural receptors. The vocals have a lightness and freshness to them and yet are still full of love and affection and the music just seems to dance lightly and leave gossamer like footprints wherever the notes land. This is a song that can lift any gloomy mood and replace it with a a feeling of contentment joy and hope, the sun is out, the sky is blue and the birds are singing, life is very good indeed.

‘Déjà vu’ is an album that will stand the test of time and is a great achievement for Bad Dreams. I was impressed from the first note by the accomplished musicianship and the superb vocals, add in the exemplary songwriting and it was sure to be a winner in my book. What makes it stand out even more is the way the music becomes almost part of you and can make you stop what you are doing and just listen for the sake of it and that, my friends, is what truly great music can do to you.

Released 18th November 2016

Buy ‘Déjà vu’ direct from the band here

https://www.youtube.com/watch?v=b0e1zfMBS6o

All music composed by Gabriel Agudo and Jorge Tenesini except Frida by Alex Calvera and Moonlight by Ariel Trifunoff.

All lyrics by Gabriel Agudo except Frida written by Alex Calvera & Gabriel Agudo.

Music arrangements by Bad Dreams.

Review – The Fierce And The Dead – If It Carries On Like This We Are Moving To Morecambe – by Emma Roebuck

Well, this came out of nowhere. I was expecting that The Fierce And The Dead’s next outing would be the third album current being recorded in seclusion with an as yet undisclosed name or release date. Suddenly the Bad Elephant Music promo number 36, ‘If It Carries On Like This We Are Moving To Morecambe’, magically appears in my in box.

I never reviewed the original but had to revisit it to see what they had done to the smartly repackaged remaster. Mark Buckingham’s stunning artwork suits the band perfectly, the intrinsic darkness of the music mirrors the graphic novelist’s style very well.

I often think very little of remastered albums and feel certain artists are just cashing in on or increasing their pension plans (no names no pack drill etc.) I have all the TFATD material and Matt Steven’s solo stuff anyway but always felt it didn’t quite reflect what they did in the live arena, the sonic assault of the back line and the bass smacking you squarely in the chest, letting you know they had arrived and will not be ignored. The live version of Andy Fox, one of the bonus tracks on this release, has a crystal clarity and solid punch to it. The whole package is far more dense but,yet, has a clarity to it, it is not muddy or thin in the least and is a lot closer to what the band does on stage.

For those who have no idea of who The Fierce And The Dead are, they are a project that grew from Matt Stevens playing with some guys rather than doing his looping acoustic stuff and it gelled very quickly into a full blown project and the original version of this album was the first product of that. They grew from being a ‘Krautrock’ ‘electronica’ to something far harder edged with the addition of a second guitarist. They now have a line up of Matt (guitar), Kevin Feazey (bass), Steve Cleaton (guitar) & Stuart Marshall (drums) and with a hugely dedicated following to boot. Instrumental hard edged music that brooks no compromise but has a wicked sense of fun all rolled into one great package.

This is the version that I think, in 2011, they would have actually released if they had been able to. High points for me are Landcrab, 10×10, and Daddy’s Little Helper. They all benefit well from the remastering process and it breathes a new life in to them.

I am completely convinced this it was a very good idea to revisit the original release and make the best of the masters from what is the beginning of a very unique gem of an outfit. RoSfest in 2017 is in for a treat indeed!

Released 18th November 2017

Order ‘If It Carries On Like This We Are Moving To Morecambe’ from the Bad Elephant bandcamp store

http://www.fierceandthedead.com/

Review – TDW – Aphrodisia EP – by Progradar

(Cover picture by Kelly Thans Photography.)

“Can you expect to cure an itch, when you are wired to the core to revolve ’round it?”

A question that symbolizes the way it sometimes feels if you long for something dearly, but society just blatantly says ‘no’ to your face. This sentiment of frustration, disillusionment, anger and sadness forms the foundation for the brand new TDW songs featured on the ‘Aphrodisia E.P.’

Tom de Wit has helmed his TDW project for 13 years now, starting writing his first music at the age of 16. The proper start was made with 2008’s release of ‘The Haunts’, Tom’s first real album. After releasing multiple albums in its wake, 2014’s ‘Music To Stand Around And Feel Awkward To’ was a record that showed the diversity and intent of this musician’s output. Showcasing that the music of TDW could be intense, layered and heavy at one moment and intimate small and fragile at others.

The ‘Aphrodisia E.P.’ is a special release, part of a pre-ordering campaign that started in September of this year. This is a supporting campaign for the upcoming TDW album ‘The Antithetic Affiliation’, slated for an April/May 2017 release.

The four tracks on this E.P. are completely finished but will also change in their final incarnations on the album. More layers will be added and more nuances will be put into the final versions. Therefore, the songs on this E.P. sound genuinely different to what the final album versions will sound like. This E.P. is a gift for those who support TDW and the musical concept it stands for.

TDW are Tom de Wit (vocals, guitars and synths), Lennert Kemper (guiatrs and vocals), Vincent Reuling (synths and vocals), Hanna van Gorcum (violin, vocals), Peter den Bakker (bass) and Rik Bruineman (drums).

Guests on the E.P. are:

Radina Dimcheva – Vocals on Aphrodisia

Cailyn Erlandsson – Vocals on Dirge

Dave Mola – Guitar Solos on Aphrodisia

Sophie Zaaijer – Violins & Viola on Anthem

(picture by John van der Zee)

The opener on the E.P. is the title track Aphrodisia and it has a very calm and collected introduction with laid back music and delightful, hushed vocals of Tom de Wit and Radina Dimcheva overplaying each other with some lovely harmonised sections. The violin adds a particularly classy touch to the song and you feel that you are drawn along upon a lulling wave of emotion. This is the calm before the storm though as the guitars crash and the keyboards roar and the blue touch paper is lit! Bang!!! off we go on a powerful maelstrom that flings you forward through the sheer forceful power of the music. Excellent riffing and the dynamic voices of Tom and Radina give the song a real energy before we break into a keyboard section that Jordan Rudess would have been proud of. The technical instrumental sections have real virtuosity and skill at their core, proper progressive metal at its best. Trun the volume right up and enjoy the frenetically challenging guitar solo from Dave Mola that follows, this track has it all in spades! I love my mellow pastoral prog but every now and again you need music that just blows the cobwebs into next year and this delivers big style! Then a complete turn around and a beautiful closing to the track as Tom’s vocals deliver a wonderfully winsome ending.

This segues nicely into the melancholy and sombre feel to the opening of Dirge, a song that feels like a lament from the get go. Cailyn Erlandsson’s vocals add a wistful loveliness to the track and, yet, you cannot get away from that feeling of sadness that pervades all. The piano and delicately strummed acoustic guitar add a keen sorrowful edge to the fragile beauty at the heart of this song. A pensive, wistful track that leaves you in a nostalgic mood, looking back at what may have been, the fading glory of the past.

Anthem strides out with a bombastic glee, a thunderous riff and powerful drums powering this enigmatic song right into centre stage. Progressive metal tinged with a bit of power metal, forceful, compelling and dominant, with a guitar sound hewn out of graphite and drums that could fell mountains. The compelling, anthemic chorus adds a nice counter-balance to the mightily potent verse and weighty feel to the music. The guitar solo is mad, manic and, ultimately, a hell of a lot of fun and the way the track closes out is just sublime, I must have put this track on repeat about four or five times with the volume turned up to max, sod the neighbours!

The final track on this excellent E.P. is the electronica tinged Lovesong with its sci-fi sounding keyboards that open proceedings. Tom’s vocals are heartfelt and full of a laid back honesty. I really like the feel of the song as it is completely different to the rest of the tracks on the E.P. It just goes to show the diverse skills that this talented musician and his cohorts have. It is a song that puts you in a thoughtful and pensive mood and the use of Hannah’s soulful violin is perfect as it interchanges with the tender notes of the piano. A real change of pace for TDW that shows a graceful subtlety to their music and one that I hope makes an even bigger contribution to the new album.

So you will have to pre-order TDW‘s new album to get your hands on this little gem of an E.P. and I have to really emphasise the fact that you should. On the strength of these four very varied tracks, the new album is going to be something special indeed and, as a stand alone release in its own right, the ‘Aphrodisia E.P.’ is well worthy of being in your collection, the guest vocals of Radina and Cailyn adding another exciting dimension. Tom de Wit continues to impress me with every new turn in his excellent career.

E.P. released 19th September 2016 only with pre-orders of ‘The Antithetic Affiliation’ which will be released April/May 2017.

Pre-order ‘The Antithetic Affiliation from Layered Reality here and get the ‘Aphrodisia E.P.’

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