Uncategorised – Progradar

John Wenlock-Smith Interviews Magic Pie

Our John chats to Kim Stenberg & Eirikur Hauksson ahead of the release of Magic Pie’s latest album, ‘Maestro’.

JWS: Magic Pie are somewhat new to me as I’ve not really heard much by you before, how would you describe your music?

Kim : I would describe Magic Pie as a mix between progressive rock and classic rock, with some tendencies towards prog-metal. With a focus on good melodies, plenty of harmonies, and the big chorus. With some instrumental passages along the way – so we can have som fun as musicians

JWS: I hear lots of classic band influences in your sound, like Deep Purple and other 70’s bands I like, is this deliberate or accidental?

Kim : Mostly accidental I would say. I didn’t have any connection to progressive rock growing up in the 80´s but it’s fair to say that I couldn’t escape the influence from my parents with bands like Led Zeppelin, Uriah Heep, Kansas, Deep Purple, Pink Floyd, The Beatles and so on. After I heard ‘Space Revolver’ with The Flower Kings and ‘SMPT:e’ with Transatlantic in 2000 (or something) I started doing a little research and took a deep dive into the 70´s prog scene. I discovered a lot of great music, but found myself enjoying the more hard-rock oriented bands the most.

I’m not sure why our music has that 70´’s feel, but I much prefer the production from the 70’s and the overall vibe. Not so polished, slick and perfect as todays productions. There is also something special about the vocal melodies from the 70´’s – hard to describe, but it just speaks top me in a different way. Since I’m also the producer I tend to gravitate to what I like. There was never a deliberate thought to make it sound 70´s.

With Magic Pie, the goal is to bring all my influences into a mix of its own. The big chorus, the recklessness from bands like Deep Purple, the vocal harmonies from Queen and City Boy, the progressive metal with influences from Dream Theater, and since I’m first and foremost a guitarist, a tiny bit of fusion and extended guitar solos to top it off. Mix all that with the structure and epic songwriting from bands like The Flower Kings, Genesis, Neal Morse etc and you have the essence of Magic Pie.

JWS: You seem to like long multi part tracks, why is this ?

Kim : I feel like long epic tracks have a little more staying power. I really like to think ofeach track as a little short story in itself. I need a beginning and an end, with twists and turns along the way to fully fulfill the essence of what I try to convey. As a composer I really enjoy the long song format. There is so much more you can do when not being stuck with a time limit. We don’t make any money on our music, at least we can have some fun with it.It really doesn’t matter if the track is 4 minutes or 30 minutes – I just think its easier to tell the full story when I can take my time and build the song like it’s supposed to be. I never write long tracks, just for the sake of being long. Most of our epics have been shortened to not overstay it’s welcome. And btw; writing short songs is difficult!

JWS: What are the main themes to songs like King For A Day, Opus Imperfectus and A Life’s Work ?

Eirikur : I think it is safe to say that the main theme to those three epics is life itself with it’s curves and bends and ups and downs.

A Life’s Work is a part of ‘Suffering Joy’, our album number 3, and the first one for me as the band’s main songwriter and lead voice. Here you get to follow this specific character from his birth to his death. He was a welcomed child, with normal and happy up growing. But he never liked school and really had but one wish in life, – and that was to get rich. He loved and he was loved, but threw all that away determined to reach the top. All the other songs on the album can connect to the Epic, so it is in a way a theme album, even though it never was quite intended as such. Even the album cover reveals our guy.

“What a joy on this day of May, – a child so precious, bright and fair. A welcomed boy, born on “Mother’s day”. The smell of springing in the air”.

King For A Day: I had written a pop-song titled “King for a day”. Not meant for myself, but it never made it up from the drawer either. When I got the demo from Kim, I started using parts and pieces from that song and I just spun it from there. Well into my work I realized that I, – unwillingly, was under some influence from that great-great movie “The Fisher King”, and I wondered if I should dare to take this any further. Luckily I managed to direct this into a story of its own…and yes, – it´’s a pretty sad one. To cut a long storyshort;

“Shots rang out, the Earth stood still…and all that I loved took a second to kill. I woke up to collide with reality’s oncoming train, just a simple man, voluntarily going insane”.

Opus Imperfectus: When I heard the intro I immediately became a time traveler and woke up in the time and age of the old masters, like Beethoven and Mozart. I created this young boy who was the assistant of a great composer, and he tells his story. Our “Maestro” composed his greatest symphony – ever. But he was not pleased, because he felt he still missed that final-chord. After the premiere of this masterpiece he disappeared to never be seen or heard of again.

“Opus Imperfectus would be his claim to fame. Although in his heart, he never accepted it would be the one to always bear his name”.

JWS: What groups have influenced you the most?

Kim : Oh, it’s so much. Growing up it was the music my parents listened to (Led Zeppelin, The Beatles, Deep Purple and so on). In the 80´’s it was bands like Kiss, TNT, Bon Jovi – all the ‘hair-metal’ bands. And of course guitar heroes like Steve Vai, Joe Satriani and Paul Gilbert. Before I started Magic Pie in 2001 I was a big Dream Theater fan and was more into the prog-metal scene. As mentioned earlier, that all changed when I heard Transatlantic and The Flower Kings.

Transatlantic led me to Neal Morse and my view of songwriting changed forever. I’m still a massive Neal Morse fan, but with the overwhelming onslaught of new music released everyday it’s impossible not being inspired by all kind of music. Other honorable mentions would be City Boy, ACT, Queen, David Bowie and all kinds of jazz-rock and fusion music – with Guthrie Govan being my biggest guitar hero at the moment.

JWS: Give me a brief history of the band please.

Kim : I started the band in Moss, Norway in 2001. Originally just for fun; to let out some steam outside the usual cover bands. We started out playing covers, but it didn’t take long before I wanted to try writing some songs on my own. We’ve had some line-up changes throughout the years, and I’m actually the only original member left. The current line-up consists of Eirikur Hauksson (Lead vocals), Lars Petter Holstad (Bass, vocals), Erling Henanger (keyboards, vocals), Martin Utby (Drums) and myself, Kim Stenberg (guitars, vocals). Only Lars Petter and myself are the remaining members from the first album.

We have released ‘Motions of Desire’ (2005), ‘Circus of Life’ (2007), ‘The Suffering Joy’ (2011), ‘King For A Day’ (2015) and ‘Fragments of the 5th Element’ (2019). The new album ‘Maestro’ will be released in just a few weeks (16/5/2025).

JWS: Are you influenced by any literature genre at all?

Eirikur : I am a fan of horror, be it books or films, – but no – I am not directly under the influence of this genre. What I guess influences me more than anything is my own life…and in particular my dreams and fantasies. When connecting with these thoughts, – I usually know when and why they begin, but I never know where they will take me…and most importantly how my stories will end.

JWS: I need to check out your back catalogue which do you especially recommend I hear?

Kim : I would start with ‘King For A Day’. This is a time when all worked out great in the band. Our spirits were high and we felt very energized. After this album we/I had some tragic events with some serious health issues and life altering family events happening – this delayed all progress and my songwriting was affected since I wasn’t quite present when writing. ‘King For A Day’ is my favorite epic and I still wouldn’t change a thing. That’s not always the case

JWS: Thank you for you answers.

Kim: Thank you for the interest in our little Norwegian prog ensemble!

‘Maestro’ will be released on 16/5/25 and can be pre-ordered here:

Review – Red Bazar – Blood Moon – by John Wenlock-Smith

Red Bazar are the band that Peter Jones uses when playing band shows as Tiger Moth Tales, in return for which he adds keyboards and vocals to their songs and elevating them in the process with his excellent voice and his deft keyboards. It’s a symbiotic relationship as both parties gain significantly from it’s existence.

‘Blood Moon’ carries on from 2022’s excellent ‘Inverted Reality’ and has eight tracks of fine, if slightly heavier, material from the band.

The album begins with Fall On Your Own Sword, which is a strong opener driven by the sturdy bottom end bass of Mick Wilson, who has since decided to move on with his place being taken by Roman Dubrovsky. The track is an epic one in style with a storming guitar riff, strong Bass and Peter’s always impressive vocals. It has a harder edge to its sound interspersed with lighter sections and parts. I really like this song and it is a strong opening track. When The World Burns is a softer piece which centres on an acoustic guitar motif and subtle keyboard textures. It’s an emotion laden song with a fine guitar solo from Andy Wilson. High Velocity is a brooding instrumental with driving bass, surging guitar parts and strong synth lines all conspiring together to make a really urgent and driven track. There’s a fine keyboard solo from Peter before the track returns to the main riff and melody, gathering intensity in the process. This is a standout for me and I loved it when it was released online last year as a taster for the full album. Start Again opens gently with an acoustic guitar and delicate keyboard flourishes. The song is about a relationship and the opportunity to redress the balance by starting Again. It’s a tender track of impassioned vocals and mood and it captures the dynamic of the relationship fully in a thoughtful and yet sensitive manner. This song impresses greatly with it strong melody and performance.

Baron’s Eyes is based on the Sherlock Holmes story ‘The Illustrious Client’ and is another interesting track talking about revenge for wrongs done to a client by the Baron. There are great synth lines to this bristling track. Fighting Force is another instrumental tour-de-force with a strong guitar line and a very upfront bass part, alongside more excellent keyboard textures from Pete. Penultimate track Over is awash with superb guitar playing and swirling synths. It’s a brooding piece of music that builds in drama and dynamism. A powerful and engaging song that could be straight from one of the great 1990’s hard rock albums. The final track of the album is title track Blood Moon, another very strong track. Although I have to confess that, without the lyrics, I don’t really know what the song is trying to convey. I believe a blood moon is significant on several levels, including the end of the world. However on this occasion, you’ll just have to enjoy the song like I did and decipher its meaning for yourself!

So, in summary, another strong album from Red Bazar which I must recommended to all especially if, like me, you are a fan of Peter’s immense talents which are well showcased here alongside the other highly skilled members of the band.

Released 28th March, 2025.

Order direct from the band here:

https://www.redbazar.co.uk/shop

Review – Solstice – Clann – by John Wenlock-Smith

Solstice are currently on a noticeably upward trajectory and this new album from the veteran proggers certainly agrees with that statement as it isa most uplifting and positive album of some very fine music indeed.

The album has a mere six tracks (if you include the bonus), all around the 5 or 6 minute duration, along which there is a near fourteen minute epic in Twin Peaks.

The overall impression is that Solstice have found a rich vein of inspiration that they are digging deep into. In this instance that vein is a very uplifting and joyful one, maybe it’s a response to the current tough times in which the world finds itself with global madness on the geopolitical stages and an almost demented leadership that seems to be looking after the rich and ignoring everyday folks. This promotes division and accelerates discord while throwing out all the mechanisms that help govern. Onto this disquieting stage steps Solstice and this album that instead of moaning offers the listener a very uplifting escape from all that misery, instead offering some really positive sounds of joy that extoll gratitude and promote an air off togetherness. Even it’s title, ‘Clann’, speaks of building a team of togetherness and family or clan.

The opening track is Firefly, which sets the tone for the whole album, starting with a very upbeat synthesiser line and with the surging vocals of Jess Holland, who has a very distinct and clear voice which, when blended with the rest of the band, sounds extremely fine and very strong. Above all of this lies the splendid violin of Jenny Newman which is the icing on this exceptional cake. Andy Glass’ guitar lines weave magic everywhere, bringing the music together tightly. Andy is a fine player who is extremely melodic in style. There’s no wonder why he won this year’s Prog Magazine award so convincingly! Life, again, has a jaunty melody that accompanies the music, the song having both a looseness and a sparseness to it that works in a most attractive manner. There’s a lot happening throughout its six plus minutes duration as it builds in its intensity with Andy’s liquid guitar lines providing a great sonic tapestry of textures and sound. Plunk is a very funky number with a strong rhythmic drive and fine organ sounds. It is played in an unusual time signature which adds to its effectiveness, as does the brass embellishments that are employed during the song. This track is definitely a punchier little number that would work well live, I’m sure. An excellent guitar solo from Andy further enlivens things significantly, his playing whilst flashy and furious, is just right for the track as he doesn’t overplay it but it all works for the maximum impact of the song.

Frippa has more than an element of 1980’s King Crimson to it, especially in the main guitar riff. This track also benefits from the versatile and athletic violin of Jenny Newman who dances all over it, blending in well with both the angular guitar work by Andy and excellent keyboard work of Steven McDaniel. The precise drums of Peter Helmsley and the subtle yet strong bass lines from Robin Phillips are mightily impressive and when this dynamic rhythm section combines with the sweet, clear vocals of Jess Holland and backing vocalists of Ebony Buckle and Dyane Crutcher, you are a totally compelling and captivating close. The epic Twin Peaks has nothing to do with the David Lynch series of the same name, rather this is a sprawling track that works on every level with its gradual building and brooding intensity and sweet violin lines. It is a journey that keeps you enthralled throughout its near fourteen minute duration. There is not a moment wasted or surplus to it, it really works as an extended showcase for all that is good about the fine band and this great album. The bonus track Earthsong is a revisitation of a song that appeared on the first Solstice album ‘Silent Dance’ from 1984, here it is given a 2024 treatment by the current incarnation of the band. It opens with ringing guitar tones from Andy and some subtle bass lines from Robin, as I’ve never heard the debut version I can’t comment on this reworking except to say that it fits in well with the rest of the album and a delicate yet dynamic vocal from Jess works well and brings the album to a stately finale.

To be honest, what I like about this album is that it makes you happy, it’s upbeat and uplifting and, in a time where all we read and hear is downbeat, it’s great to have something that lifts you up, for a while at least! This album does that across its six tracks. Remember when music was a source of joy for you? Well, this music returns that feeling to you and so it is highly recommended from here.

This is a great album from a band who have weathered many storms and difficult times and seasons to re-emerge stronger, bolder and with much to offer in today’s world. I have no hesitation in commending this most wonderful release from Solstice.

Released 4th April, 2025.

Order the album here:

https://essentials.progrock.com/product/solstice-clann

Coloured vinyl here:

https://fairsound.com/product/solstice-clann-rusty-red

Black vinyl here:

https://fairsound.com/product/solstice-clann-black

Review – Oak – The Third Sleep

With their highly anticipated fourth album, ‘The Third Sleep’, Norwegian progressive rock band OAK delivers a striking exploration of societal complacency and the struggle of the individual. The album contrasts light and darkness, both thematically and musically, seamlessly blending folk-inspired acoustic passages with the raw intensity of progressive metal, evoking echoes of Opeth and beyond.

On the 25^th of April, OAK follows up their highly acclaimed ‘The Quiet Rebellion of Compromise’ with a new album, ‘The Third Sleep’.

About the album, the band has this to say:

“The Third Sleep continues the development from TQROC lyrically and further descends into the darkness of the mind errands. The form is suggestive and poetic, with room for interpretation within certain limits. The album is also more outgoing than its more introspective predecessor, with socially critical lyrics that require the listener’s attention and an ability to read between the lines.”

With a rich musical foundation that spans classical piano, electronica, progressive and hard rock, OAK has carved out a distinctive sound—both captivating and challenging in equal measure.

I’m a huge fan of OAK and their wonderfully haunting music that really gets under your skin so I was very excited when I heard that they were releasing a new album and, boy, have they not let me down!

From the opening notes of No Such Place with it’s beautifully complex musical arrangements and Simen Vallal Johannessen’s lilting vocal, I was hooked and realised that these guys have done it again. The addition of the delicate but emphatic woodwind just gives a deep meaning and gravitas to the song and there’s a fantastic flow to the music. London has a darker, harder edged opening, almost industrial in feel where Sigbjørn Reiakvam’s drums give a fine counterpoint to the elegance of the vocals. Mature and reflective, OAK have moved there sound on from the previous album and truly progressed. There’s almost a menace to the keyboards and the bass of Øystein Sootholtet just sits in the back ground directing proceedings. A hauntingly memorable piano line opens Run Into the Sun and the shimmering swathe of keyboards adds a polished sheen to this stunning track. Simen is on top form here, his vocals are just beautiful, especially on the fine chorus and we are treated to one of OAK’s best songs yet, it certainly one of my favourites from their impressive catalogue. What really impresses me on ‘The Third Sleep’ is how the band have brought the guitars more to the fore and it really adds another dimension to their already impressive music. First single Shimmer opens with a halting, moody tone and the vocals come in a bit deeper and hushed. It all gives a pensive and wistful feeling but that changes when the powerful chorus opens up and the vocals soar, driven on by the compelling rhythm section and demonstrative guitar. this track actually does shimmer with a fragile confidence that you can feel and then the plaintive woodwind comes in again to add another level of finesse.

Shapeshifter is another piece that is rather pensive and thoughtful in feel and tone but it has Simen’s rather gorgeous vocals to lift it above the norm. I just can’t get enough of his epic voice. These three musicians seem to gel perfectly have produced their own unique sound and that is no more evident than on this superb song. the guitar, drums and piano all blend together in an imposing soundscape that just grans your attention and won’t let go. The faster paced, demonstrative ethos of Borders gets you on edge immediately and I like it’s almost random, off-kilter feel. The drums lead and the vocals follow willingly, aided by a fine, skittering piano note. you feel that this piece is building up to something as the tension raise before being let loose on an uplifting and arresting chorus. It’s an elegantly emotive song that lives long in the memory after it closes. The album closes with the epic and profound Sensory Overload, a complex and thought provoking musical journey that feels like you’re in the labyrinthine mind of a tortured musical genius. You get thrown from left to right and all over on this memorable and suitably dramatic odyssey. I mean, there’s even some growling vocals thrown in and I’m not usually a fan of them but, here, they work perfectly! What a rather magnificent way to close the album.

With ‘The Third Sleep’, OAK have returned with a dramatic, exciting and rather imposing collection of songs that shows a young band full of creativity and vitality. It is their best album yet and one of the best things you will hear this year, sublime, grandiose and, to put it simply, brilliant!

Released 25th April, 2025.

Order from bandcamp here:

https://oakinoslo.bandcamp.com/album/the-third-sleep

Stream ‘Shimmer’ from this link:

https://orcd.co/oak-shimmer

Review – Pattern Seeking Animals – Friend Of All Creatures – by John Wenlock-Smith

Pattern Seeking Animals have recently released ‘Friend of All Creatures’, their fifth album in five years. They have also changed the label from InsideOut to G.E.P but, otherwise, it’s pretty much the same as earlier releases, i.e. this is a band that, in tandem with excellent writer John Boegehold, take the core of Spock’s Beard to create new music that is not suitable for the Beard and release it under the PSA banner. As a result, John has an alternative outlet for his newly written music, making it a win-win situation for all parties.

With Spock’s Beard being largely inactive in recent years, largely involved in other things but still a going concern as such, it is into this vacuum PSA have stepped to fill the gap. They operate in a similar vein, offering longer progressively inclined songs with meaning, and with no lack of skill, to craft strong, modern sounding music that will appeal to progressive music followers.

This new album continues in that same style, by offering a further seven tracks of carefully curated prog rock. As is usually the way with Pattern Seeking Animals, you need to hear the album a few times for the songs to “drop” as it were. Certainly familiarity with the music will definitely be to your benefit. Again, I can hear Elements and traces of bands like Kansas and Styx in how the songs are built in layers and with hooks everywhere to grab your attention.

The album starts with Future Perfect World, which is one of the four longer tracks. It starts with a simple riff and lots of keyboards gently playing away, there is also some Hammond organ at points, creating a very good wall of sound. The vocals from Ted Leonard are pitched perfectly, as one would expect. The group is a four piece with guitar and vocals from Ted, drums from Jimmy Keegan, bass from Dave Meros and keyboards, programming, mellotron, guitar and ronrocco (mandolin like stringed instrument from the Andean regions) from John Boegehold. John also provides some vocals and production, in Reality he is the driving force of the band, although more than ably assisted by the others. The song has a strong chorus and is very much an ear worm of a track, barely a moment being wasted as each minute adds new textures and complexities. Another Holy Grail is the album’s longest track and is a very complex creation with lots happening at various points. The song seems to be about searching for a way to move forward in an ever changing world. There are sections of orchestrations in this track which split the track into sections really, making for a long track but a very briskly moving one that is always changing in a new direction and this keeps the interest throughout. I really like that the song evolves over its twelve minute length. Down The Darkest Road has a haunting, mournful beauty to it with a moving viola line and part from Eliza James which adds beauty to the song. It also has a strong chorus calling us to follow down the darkest road, a very captivating track indeed. In My Dying Days is equipped with a Duane Eddy type guitar type riff and also has a great brief solo from Ted, who continues to grow in confidence in his playing on every album.

The Seventh Sleeper begins with a sequencer playing a repeated motif before a synth lazily winds its way across the track. This is aided by fine rhythmic support from Jimmy and Dave and underpinned by some rhythm guitar lines from Ted, who sounds very much like Steve Walsh of Kansas here, no bad thing for me at all The track is laid back in tone with an almost piano bar part in it, all very languid really despite a sinewy guitar line playing. I do like this song as its somewhat different to what PSA normally deliver and it certainly stays with you. The brief Days We’ll Remember has a laid back feel, along with a strong chorus that swells in sound. The song is about memories that stay with you for a long time and is a very upbeat song and, lyrically, extremely strong, another great track. The album finishes with Words Of Love Evermore, another longer track with strong synths in the opening section and great guitar from Ted. To me, the song’s meaning is a little obscure but a lively guitar solo towards the end grabs the attention significantly. It’s a very interesting track and one that concludes another fine set from the band.

Pattern Seeking Animals continue their ongoing progression as they develop and improve album by album. ‘Friend of All Creatures’ is another highly recommended album from a group who continue to grow in stature and this album shows that very clearly.

Released February 14th, 2025.

Order digital from bandcamp here:

https://pattern-seekinganimals.bandcamp.com/album/friend-of-all-creatures

Order the CD from GEP here:

Pattern-Seeking Animals – Friend of All Creatures

Review – Nicholas de Renty – Retour Au Bercail – by John Wenlock-Smith

Progressive music certainly has the ability to throw you some strange or odd musical curves, take this album from French solo musician Nicholas de Renty entitled ‘Retour Au Bercail’ which translates as meaning ‘Return to The Fold’ .

Nicholas performs the majority of the instruments apart from on the track Traquenard where he is joined by Anthony Malaussena who adds guitar and bass to the track, Nicholas playing drums, piano and the vocals, which are all sung in French. A lot of the other instruments are delivered via the computer, the brass and woodwind elements for example that enliven proceedings. This release is best heard in one setting, i feel, as you can then appreciate the intricacies that are built into the music especially in the title track Retour Au Bercail which has excellent brass and woodwind sections.

The album is basically the story of Nicholas’ return to the faith he grew up in but deserted in his youth. He now feels the need to address the spiritual emptiness he has been experiencing and sees a return as being in his best interests. This is bold for such a step to be considered and then taken and ultimately to be chronicled in the music he has made.

I had a translation of the lyrics so I could follow his journey, there is an understated beauty to this musician in his openness to embracing faith once again, which is to be applauded. This album will probably be passed over by many which is a shame as it is really rather good and interesting musically. I would say the singing is a little different and unusual but it is not unpleasant being strongly choral in style. I understand this might be off putting for many but I would urge you to persevere with it as it does become rather calming with a distinct spiritual tone and flavour to it.

I especially liked the opening track Luerre éternel (eternal war) which has a drum solo at both the opening section and at the 5.55 mark where Nicholas vocalises over the beat before a rippling piano and subdued brass are heard. Nicholas then really pounds the skins a for few minutes, oddly enough the dynamics of this work exceptionally well, giving the track a really strong dynamism and emphasis. The lyrics are actually more prose, being almost poetic in nature and tone, the choir like chanting is a good fit for the track which is about how we are all in a spiritual war with the forces of evil (Satan and his demonic hordes).

As I say it is an intriguing and deep concept. One with it’s spiritual overtones and concept could, I accept, be problematic for some listeners and the album is maybe not an easy listen per se. However, many a great album is equally as challenging yet critically applauded like ‘Red’ by King Crimson, which is an equally dark and intense piece of work.

I have to say that the more I listen to this album the more I have come to appreciate it’s difference, which I feel is rare in a genre where little has changed since the founding fathers’ original masterpieces were released. This album at least dares to be different in many ways and that alone is worthy of recognition. As such, I would recommend that folks with an open mind would have a listen at least as there is some great music on display here,

Definitely one for the more adventurous listener to at least have a go with, although I would say it would be more appealing if the booklet had the words translated into English so then non-French speakers couldn’t least be more understanding of the contents of the words.

This has not been an easy review as it has required the input of Anne-Claire from Bad Dog Promotions to help with the translation, which then allowed insight into the themes behind the tracks, for which I must recognise her invaluable assistance. aAs it is but I urge perseverance with this most interesting release which I actually really enjoyed, hopefully others will too.

Released 27th August, 2024.

Order from bandcamp here:

https://nicolasderenty.bandcamp.com/album/retour-au-bercail

Review – Hats Off Gentlemen It’s Adequate – The Uncertainty Principle – by Roger Trenwith

“Learn to live with uncertainty, learn to cope with reality…” – so begins the last stanza of the last track on this, the eighth album by Hats Off Gentlemen It’s Adequate. That’s a line that applies more than ever in these unsettling times we live in, as much as it applies to front man Malcolm Galloway’s health struggles, which involve a hereditary condition affecting connective tissue, and a degenerative macular illness. Refusing to be brought low by this, there’s a three track EP, Between The Worlds (see the Bandcamp page) that came out a month ago. It contains a blistering version of the live favourite i’mtiredandeverythinghurts from last year’s Prog For Peart festival, and its techno-punk raging at bodily frailty seems to sum up Malcolm’s frustrations perfectly.

Keeping up the duo’s love of science (of the real and fictional varieties!), the recurrent themes of The Uncertainty Principle ostensibly derive from Heisenberg’s 1927 theorem of that name, although obviously there is also a strong personal element running through it all. The Bandcamp page for the album includes a potted history of quantum theory, and I wouldn’t expect anything less from these two highly personable musicians, who have nurtured each other’s nerdy obsessions since school days.

At times, you can easily hear a lyric such as “Everything changed. Everything we thought we knew changed” and cast your thoughts to the lunatic across the pond, gleefully destroying everything our lives in the West have been built on since the end of WW2. Topical stuff, indeed. This album provides a healthy dose of musical escapism to aid the passage of the stark reality of the lyrics, always a good combination in any form of popular (ahem…) music.

Musically, the band offer up their signature combination of melody and righteous rock’n’roll anger. The blistering guitar and charging rhythms of The Ultraviolet Catastrophe being an example of all brakes off, instrumental Sturm und Drang. Following that is the wistful Copenhagen, an early album appetiser from last year, with Malcom’s voice slowly rising to full-on yearning, his instantly recognisable vocal style being one thing that makes this band stand out. Ah, yes! It is a band, and the other half of it is the irrepressible Mark Gatland whose infectious enthusiasm offsets Malcom’s angst perfectly. His bass is dextrous or thundering, or both, and is a vital part of the equation.

Can a duo be a band, you may wonder? In the words of Robert Fripp, HOGIA (unlike their music, the name is a tad unwieldy, you have to admit!) are the epitome of a “small, mobile, intelligent unit”, with the rest of the music and the drums being programmed and delivered via technical wizardry that is way beyond my ability to even begin to explain. And it works live too, so much so you forget that you can only see a guitar and a bass guitar being played in front of you. The whole is definitely “a band”.

This musical witches’ brew is in full effect on Inside The Atom, a synth-led molecular examination that whizzes around its nucleus with a gleeful freedom before being joined halfway in by some superb sky-saw guitar from Malcolm, who can play a bit, o yes!

There’s examples of the band’s ear for a good pop song too. The Think Tank has Malcolm and Mark playing fast’n’syncopated with the sort of song that Matt Bellamy used to write when he was on his game. One Word That Means The World (Arkhipov) provides a history lesson, if like me you had to Google “Arkhipov”! All I will say is, it is possible none of us would be here if Vasily Arkhipov had said “Yes”, rather than “No”. “We don’t know who we are, until we are forced to decide”, as Malcolm vocalises. Decisions, decisions…

The title, and last track, is almost bluesy to begin with before becoming anthemic. These chaps meld a number of styles into a recognisable whole, and it’s just a shame that no-one seems to have heard of them outside of our small pond. Yes, they’re “prog”, but also so much more than that and deserve to be far bigger than they are…but would that destroy the magic? Uncertainty, uncertainty…

Released 4th March, 2025.

TRACKLIST

Certainty
Everything Changed
The Ultraviolet Catastrophe
Copenhagen
Cause And Effect (But Not Necessarily In That Order)
The Uncertainty Principle
Inside The Atom
The Think Tank
One Word That Means The World (Arkhipov)
Between Two Worlds
Living With Uncertainty

Total time: 62:07

MUSICIANS

Malcolm Galloway – lyrics, lead guitar, synths, mastering

Mark Gatland – bass guitar, vocal engineer, additional guitars and synths, co-producer

With:

Kathryn Thomas (flute 6, backing vocals 11, co-producer 10)

Ethan Galloway (vocals 11)

LINKS

Bandcamp: https://hatsoffgentlemen.bandcamp.com/album/the-uncertainty-principle

Website: https://hatsoffgentlemen.com/

Facebook: https://www.facebook.com/itsadequate

Review – Sharks: Car Crash Supergroup – The Island Years 1973-1974, 3CD Box Set – by John Wenlock-Smith

It almost seems that in the 1970’s you couldn’t move for supergroups, that strange scenario where bands split, only to re-emerge in a new combination of musicians. Some of these were very successful, like Emerson, Lake & Palmer, others less so, where the combination was just to volatile to exist peacefully enough to make their mark, like Beck, Bogart & Appice or Rough Diamond, for example. Punk might have brought the demise of many such groups but it didn’t kill them off completely, as bands like Asia can attest.

Sharks were one of those groups that should have been far bigger than they were, somehow they never quite made the grade despite having a very strong line up of Steve ‘Snips’ Parsons on vocals, Andy Fraser of Free on bass and Chris Spedding on guitar, along with Marty Simon on drums. Their debut album ‘First Water’ was released in 1973 on the Island label to much hype that unfortunately did not translate into many real sales.For the second album, ‘Jab It In Yore Eye’, Andy Fraser was replaced with Buster Cherry Jones. It was released in 1974 to a world that wasn’t very bothered. The band toured the USA to good audiences but, again, without more sales. Upon their return, they recorded a third album, ‘Car Crash Tapes’, produced by John Entwistle of the Who, but Island weren’t satisfied with the results and opted not to release it, this caused the band to split up and go their own ways. Spedding did some solo and Guitar Graffiti albums and he was also one of The Wombles, the one with the flying V guitar. Snip joined the Baker Gurvitz Army and Buster Cherry Jones returned to the US and started a new band with Donald and Ralph Kinsey called White Lightning, who released an album for Island records in 1975.

This set comprises of the first two releases, along with that third, unreleased, album ‘Car Crash Tapes’. It also includes live tracks recorded in Providence, Rhode Island in 1974, one of which features Leslie West of Mountain on Guitar. So that’s the back story but what’s the music like? Well, if like me, you were too young to remember them (I was 14 at the time), let’s have a listen through and I’ll tell you what I think.

The debut ‘Fresh Water’ emerged in 1973 after Fraser had left Free after their ‘Free At Last’ album of 1972, wasting little time in joining forces with Chris Spedding to form Sharks, who were signed to Island Records, with whom Fraser’s previous band Free had resided. Steve ‘Snips’ Parsons was spotted by Chris Blackwell and, after a successful audition, was offered the role of singer in Sharks, who Blackwell was managing at the time, having cut his teeth in the North East around the Hull and Humberside area.

The band travelled around in a customised PontiacLle Mans that they affectionately called The Shark Mobile, due to a fin on the roof and teeth on the grill which made an impact. A lot of their interesting history is detailed and recounted in the album booklet along with some great historical photographs of the band. They crashed the car into a tree in the north of England whilst on tour, with Andy Fraser injuring his arm. After this he though heavily about his options and decided to leave whilst he had the chance as he saw the crash as being a bad omen.

‘First Water’ is not a bad album in many respects, with a mixture of classic sounding rock and some sweet guitar work from Spedding. A lot of the tracks are slow burners, meaning that it takes time to really get into them fully, Follow Me being a prime example of this, with a strident piano from Fraser holding the song together and an ascending riff from Spedding that is fairly dramatic. I really like this track, it’s somewhat understated but could have been great live with its decent guitar break and fill section. Ol’ Jelly Roll has more piano and a initially delicate vocal from Snips which channels his inner Joe Cocker in the gritty vocals. This one has a touch of Free about it, especially in how it builds in intensity. Brown Eyed Boy is a Rolling Stones like romp with great dynamics to its swagger and Snakes And Swallowtails is another slow builder with Fraser’s bass at the forefront to good effect. I like this track with its understated playing that suggests the song is going to explode into something special, and it finally does, sounding tremendous, if not a bit short, when it could have been allowed to run on a lot more.

Drivin’ Sideways is more standard rock fare that doesn’t really go anywhere, despite good performances from Snips and Fraser and some almost countrified guitar fills from Spedding. But, despite its initial opening, I actually do like this track and it definitely grows on you. Steal Away sounds like a more mellow Free song, very subdued but actually rather good. Doctor Love is certainly of its time, especially in the lyrics. The track has a sinewy guitar line running through that sounds not unlike Paul Kossoff, which is a nice touch. The final song of the debut is Broke A Feeling, which is a fairly muscular sounding track with some good guitar fills which, along with the bass and the piano of Nick Judd, make a good sound. It’s all a little loose and all the better for that really. The mid section where Spedding lets rip is especially strong making for a strong finish to an album that had much promise that somehow the band were unable to capitalise on fully.

Sophomore album ‘Jab It In Yore Eye’ continues in a similar style and tone to the debut, although it seems a bit more focused somehow. The playing is more concise and impactful, it would seem that the departure of Fraser and the addition of Buster Cherry Jones was good for the band, allowing Snips’ songwriting abilities to be more widely seen, he writes or co writes seven of the album’s ten tracks. Baby Shine A Light is a great song with some excellent guitar work from Spedding, whose playing is subtle and yet exciting on this track. Sun Beat Down has a muscular sound to it, being quite a strident song yet somewhat understated and never actually exploding into life. It’s a bit of promise unfulfilled here despite some good guitar fills. Rain Or Shine is an acoustic song that lacks something, whereas Kung Fu is far better with its chopsticks type piano and some sweet guitar lines from Spedding which enliven proceedings. The Japanese words don’t really add much but Speeding’s playing in the mix does add some excitement to this track. Sophistication is next, a track in which The Clash were instrumental with their Should I Stay Or Should I Go track, you can see that in its stop start riff. Cocaine Blues follows and is a more restrained track. Revolution Of The Heart opens gently with acoustic guitar and then settles into a more rock like groove. This is another slow burning track that gradually increases in its intensity to become something really fine over its six minute duration. With Chris Speeding’s understated guitar lines really hitting the mark, this track never explodes as such but the intensity and build both make a real impact.

The third album, ‘Car Crash Tapes’, is not as good as the first two and you can see why Island rejected it. The live tracks are taken from a bootleg recording that have been cleaned up for this set. Again, these are of their time but are a nice addition to what is another fine set from the ever-reliable Cherry Red /Esoteric label and the booklet is of the usual very high standard.

In conclusion, this won’t be to everyone’s taste but it shows that some quality music was being made in the days before punk. How this band failed to achieve major success is one of Rock’s more tragic tales.

Released 24th January, 2025.

Order from Cherry Red here:

https://www.cherryred.co.uk/sharks-car-crash-supergroup-the-island-years-1973-1974-3cd-box-set

Anthony Phillips – Sail The World – New 2CD Remastered & Expanded edition

Released 25th April, 2025.

Esoteric Recordings is proud to announce the release of a newly remastered and expanded 2CD edition of Sail The World, the evocative 1994 album by celebrated composer and guitarist Anthony Phillips.

Originally composed and recorded for the UK television coverage of the Whitbread Around the World Yacht Race, Sail The World became a fan favourite, capturing the vast, cinematic beauty of the open seas.

Now in this definitive edition, Sail The World has been newly remastered and expanded into a 2CD set, featuring an entire second disc with 15 rare and previously unreleased bonus tracks, including additional material and alternate mixes, featuring collaborations with Joji Hirota and Martin Robertson. This special release also comes with a beautifully illustrated booklet, complete with a brand-new essay by respected writer Jon Dann.

With its sweeping melodies and atmospheric textures, Sail The World remains a stunning work from one of progressive music’s most revered composers.

DISC ONE
1 Opening Theme
2 Fast Work
3 Dark Seas
4 Cool Sailing
5 Wildlife Choir
6 I Wish This Would Never End
7 Salsa I
8 Roaring Forties
9 Lonely Whales
10 Icebergs
11 Majestic Whales
12 In the Southern Ocean
13 The Fremantle Doctor
14 Long Way from Home
15 Wildlife Flotilla
16 Big Combers
17 Cool Sailing II
18 Cape Horn
19 Amongst Mythical Birds
20 Salsa II
21 Into the Tropics
22 In the Doldrums
23 Heading for Home & Victory
Bonus tracks
24 Paradise
25 Eastern Magic
26 Closing Theme

DISC TWO
Previously unreleased bonus tracks
1 Opening Theme (original version)
2 The Dream Race
3 Starboard Drift
4 Epic Whales
5 World Piece
6 Temple
7 Ocean Life
8 Cool Sailing (alternate mix)
9 Playmaker
10 Another Day
11 Fast Work (alternate mix)
12 Journey’s End
13 Tokyo Nights
14 Paradise (alternate mix)
15 Heading for Home & Victory (alternate mix)

Pre-order from Cherry Red Records here:

https://www.cherryred.co.uk/anthony-phillips-sail-the-world-2cd-remastered-and-expanded-edition

Review – Karmakanic – ‘Transmutation’

The acclaimed Swedish progressive rock band Karmakanic is back with their highly anticipated sixth studio album, ‘Transmutation’. Produced by the band’s founder and visionary leader Jonas Reingold, The album has been mixed by five-time Grammy Award winner Chris Lord-Alge, renowned for his work with legends such as Muse, Tina Turner, and Bruce Springsteen.

For this album, Jonas Reingold has assembled a Dream Team of internationally renowned musicians, including Simon Phillips, Steve Hackett, Nick D’Virgilio, John Mitchell, Andy Tillison, Craig Blundell, Randy McStine, Amanda Lehmann, Rob Townsend, Roger King and Luke Machin, to name just a few!

Jonas Reingold comments:

“With ‘Transmutation’, I wanted to create not just music but an experience – the best progressive rock album in modern time, a place where the listener can dream, reflect, and be carried away by the sound. Listen to all these wonderful musicians in a high fidelity environment. Working with these extraordinary musicians has made this album truly special to me.”

Lofty ambitions from the renowned bass player and all round stellar musician, can this new release from one of my favourite modern day progressive units live up to them, let’s see shall we?

It’s been a long time since the release of Karmakanic’s previous album, the rather excellent ‘Dot’, back in 2016 and Jonas has been a very busy man in that time, being the ‘go-to’ bass player for not just progressive rock acts. Thankfully for us, Jonas has found the time to create another profound collection of songs under the Karmakanic banner and I consider myself to be a lucky soul bringing you the fruits of his labours here in this review.

I have always been huge fan of Karmakanic, their wonderful joie de vivre and the hope and joy in their uplifting songs is just amazing to hear and always lifts my mood. Send A Message From The Heart from 2008’s ‘Who’s The Boss In The Factory’ and Higher Ground & Steer By The Stars from the aforementioned ‘Dot’ are just a few examples of the inspiring music that Jonas and the band can create and gives him a lot to live up to.

Album opener Brace For Impact is a powerful instrumental introduction to the new release with some fiery, edgy guitar from Jonas, thunderous drums from Simon Phillips and Andy Tillison’s distinctive keyboards all combining to deliver a profound statement of intent. I braced myself for the next track, the utterly captivating End Of The Road, possible the best Karmakanic track yet delivered to an expectant audience, it really is that good! A spellbinding introduction leads to one of John Mitchell’s finest vocal performances, ably assisted by the lush tones of Randy McStine. Gorgeous musical themes abound, Luke Machin delivers some elegant guitar lines and solos along with exquisite acoustic guitar from Jan-Olof Jonsson and you are welcomed into a wide ranging vista of bewitching charm. Don’t be surprised if the repeat button on your remote gets a lot of work with this track, it is just brilliant. Cosmic Love has more than a feel of the 80’s about it with the fine keyboards of Jonas and John’s urgent voice driving things along. Some excellent slap bass straight out of that decade will put a smile on your face as, in tandem with more dynamic drumming from Craig Blundell, he ups the ante. Randy adds great backing to John and the requisite guitar lines to create another great track.

I don’t know if it is just me but John Mitchell’s vocals seem to be at their finest at the moment and he goes on to showcase his excellent voice on the stunning We Got The World In Our Hands, a song that shouts Karmakanic more than any other on the album. The music literally has you walking on air and feeling the world is a happy place and if you can go through the eight minutes of this track without singing the chorus, you have a lot more restraint than me! A four strong guitar line up of John, Jonas, Randy and Krister Jonsson imbue the song with sophisticated layers and Simon Phillips is once again on top form with the drum kit. It’s another superb track but it’s the vocals that really stand out for me, just dazzlingly sublime. An edgy atmosphere arrives with the opening to All That Glitters Is Not Gold, an almost folky feel brought on by flute and accordion to this cautionary tale. Jonas’ songwriting seems to just get better and better and is brought to life by this supreme collection of highly talented musicians. John’s vocal has a catch to it, a sombre feel if you like and the music a little haunting edge, along with some fine lead guitar, all strident and dominating, from Kristen again. If it could be said that Karmakanic have a dark side, it is let loose on this deliciously dark feeling piece. A big nod must go to Rob Townsend and his ever impressive saxophone playing.

A measured guitar and keyboards add to John’s precise vocal delivery to give a cautionary feel to Gotta Lose This Ball And Chain, a harder edged piece of music that shows a more measured and considered side to the band. Sven Cirnski layers his sophisticated guitar over Tomas Bodin’s keys and the fabulous rhythm section of Jonas and Simon and Krister gets to fire off a suitably impressive guitar solo. A catchy chorus and the fine musicianship give subtle polish to the track and it is wonderful to hear Göran Edman’s stylishly theatrical vocals at the end. And so to the final, and title, track, Transmutation, Jonas and Karmakanic have always been known for delivering superb and engrossing epic tracks on their albums (Dot and Send A Message From The Heart being prime examples) and Jonas does not let us down here with a twenty-three minute musical tour-de-force. The song ebbs and flows perfectly with some utterly mesmerising musicianship from the assembled cast of legendary progressive musicians, Steve Hackett, Andy Tillison, Krister Johnson, Roger King, Rob Townsend, Jan-Olof Jonsson, Nick D’Virgilio, the list goes on and every single one of them seems just happy to be there and be involved in this amazing musical project. Thunderous guitar and drums, elegant keyboards and Hammond organ, brilliant saxophone and John Mitchell and Amanda Lehmann laying down exquisitely graceful vocals, this track literally has it all and showcases the musician’s ability to blend complex musical arrangements with superb musicianship and emotional depth. I couldn’t think of a finer way to close an album.

‘Transmutation’ takes all the best elements of ‘Who’s The Boss In The Factory’ and ‘Dot’ to create an utterly engaging listen with all the hallmarks of what makes Karmakanic such a celebrated outfit. Consistently brilliant from the first note to the last, Jonas Reingold and his FC Barcelona of progressive all stars have delivered a musical experience to transcend most others.

Released 7th March, 2025.

Order from the artist here:

https://www.jonasreingold.se/shop

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: