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John Wenlock-Smith interviews Malcolm Galloway of Hats Off Gentlemen It’s Adequate

John Recently had a Q&A session with Malcolm Galloway of Hats Off Gentlemen It’s Adequate.

JWS: How did the band come about?

MG: At school I learned to play the tuba classically, and taught myself guitar and keyboard. Mark Gatland (bass guitarist) and I played music together at school. I was then distracted for a couple of decades by becoming a doctor, but continued to be passionate about music. After a positive reaction to my involvement in a hospital pantomime, I started playing my own songs at solo acoustic gigs, or with Kathryn Thomas on flute as an acoustic duo. I was also going to jam nights at the Fiddler’s Elbow in Camden, where I met guitarist Ibon Bilbao and drummer Rudy Burrell, both great musicians who helped encourage me to push my music forward. 

Mark came to see me playing a solo acoustic set in a pub and we decided to get back to making music together. Hats Off Gentlemen It’s Adequate evolved from being me on my own or with Kathryn, to a variable combination of myself and Mark with combinations of Ibon, Rudy and/or Kathryn. When Rudy moved out of London and couldn’t regularly play with us any more, Mark and I developed a very close way of working together that allows us to perform live with us pre-recording some parts, and playing guitar/bass/vocals (and sometimes keyboards) live as a duo. 

JWS: Why have you chosen the self release method of working?

MG: We like having the freedom to make whatever music we want, and to be able to design the whole package ourselves, so that hopefully the artwork and the music come together as a whole. I am extremely conflict averse, so not having to negotiate things with a label is helpful. I’m also not really sure what a label would add for us at the moment.

JWS: You also have a minimalist classical solo career as well, why is this?

MG: I’ve always had a parallel interest in contemporary classical and rock music. I was particularly influenced by the American composer Steve Reich’s music. Some of the music I want to write fits into a song structure, some fits as instrumental bits between the songs on a predominantly rock album. Other music I want to write just wouldn’t fit a HOGIA album. Often my classical pieces are long, and gradually explore evolving patterns generated by the interaction of simple motifs, with less of a melodic focus than the HOGIA songs.

JWS: How do you determine whether something should be for the group or yourself? Is there a criteria you utilise?

MG: I think the two sides of my music are coming closer together. In our new album (‘The Light Of Ancient Mistakes’) there is a track, Goodbye Cassini, which originally started as a classical minimalist piece, but then evolved into a flute-led instrumental. The Anxiety Machine is an instrumental divided into three sections, which also exists as a much longer continuous piece, which as a longer piece could be one of my classical pieces, or as a shorter version as a Hats Off Gentlemen It’s Adequate instrumental. So far, anything I’ve done with vocals has been labelled as Hats Off… . Generally the solo pieces are likely to be longer, more gentle, less likely to have a song-like structure, and to be more classical and/or minimalist.

JWS: Have any of the songs ever crossed over?

MG: Mark, Kathryn and I did play a concert at the National Gallery where we played both some of the less angry-sounding HOGIA songs and my minimalist music and video art. 

Some of my classical/minimalist music has started to use drums, so there is some cross-over there.

JWS: I have listened with great interest to  both your own albums and the band efforts. There has been a great progression in the material, how do you choose where to focus your thoughts on, what inspires you musically these days?

MG: I generally have numerous tracks in the process of being written at any time, and usually some of the minimalist music at the same time as the band material. I like to be able to pause writing in one sound-world, and jump into another contrasting musical space. I can then come back to the first piece refreshed. My main limitations at the moment for writing are physical – I have Ehlers-Danlos Syndrome, which causes chronic pain and joint problems. My hands and wrists get swollen, which I find frustrating. For example today, I had music in my head I wanted to write down, but couldn’t do much composing due to my wrist.

JWS: You obviously have a love of science, science fiction and of literature as well, how does this influence the direction you take?

MG: I listen to a lot of audio-books, and often a situation, character or even a phrase just jump out as inspiring a piece of music, whether in terms of a narrative or a musical theme. In the last two HOGIA albums there have been several tracks directly inspired by books. I’ve got a folder on my phone of books that I want to go back to as song inspiration. I’ve enjoyed combining songs inspired by real world historical events and those inspired by related themes in fiction in the same album. I’m currently relistening to a biography of Werner Heisenberg as research for a possible song.

JWS: how do you temper your frustrations politically, do you use that as an impetus into your writing?

MG: I am hugely frustrated at what appears to be a rise in racism, homophobia, and other forms of the dehumanisation of others. Most people, if they met one-to-one would get on well, but there seems to be a drive to get groups of relatively powerless people to hate each other, to deflect attention from those who benefit from division. Sadly, I think we need to be constantly vigilant against the resurgence of hatred. This is a recurrent theme in my songwriting.

JWS: Which do you prefer – live shows or recording and why?

MG: I enjoy both. Live performing is very important for me – it brings me a great deal of joy. How we perform the same piece varies a lot between shows, depending on how we feel and the response of the audience. I really love live performance, with that sense of spontaneous communication. On the other hand, in a recording, we have the time and space to decide exactly how we want everything to sound, and shape it in detail. 

Bonus Question 

JWS: If you were to highlight three tracks to introduce someone to your music which would you choose and why?

MG: Refuge, Walking To Aldebaran and Century Rain

Century Rain

This is one of my favourite tracks from the ‘Nostalgia For Infinity’ Album. I like the structure – it takes musical ideas and develops them in a fairly complex structure, while retaining a recurrent melodic chorus. Kathryn has some great flute parts on that one. When we play it live, it feels like we’ve been on a real journey by the end. I think the later chorus being faster than the earlier choruses helps give it that narrative direction.

Refuge

This is an instrumental track that follows the true story of my great-grandmother’s escape from the Nazi’s during the Holocaust. Musically it brings together my rock and my classical side.

Walking To Aldebaran

This is probably my favourite track from our new album. It is more metal influenced than most of our music, although it jumps between metal, prog, classical, experimental and musical theatre-style sections. It is also quite playful. I’ve been enjoying playing this live. It was inspired by Adrian Tchaikovsky’s novella of the same name.

Hats Off Gentlemen It’s Adequate’s new album ‘The Light Of Ancient Mistakes’ is out now and available to order from bandcamp here:

https://hatsoffgentlemen.bandcamp.com/album/the-light-of-ancient-mistakes

Interview with John Lodge – by John Wenlock-Smith

Picture by Frank Piercy

JWS: Hello John, it’s John from Progradar here.

JL: Hello John.

JWS: How are you?

JL: I’m fine thanks and you?

JWS: Yes I’m fine as well, let’s talk about your new album (‘Days of Future Passed – My Sojourn’). I’ve heard it and I think it’s great, a bold reimagining off a truly classic album, reworked for the modern times.

JL: Thank you very much, I tried to stay true to the emotion of ‘Days of Future Passed’ but with a twist for 2023. Hopefully people can relate to it, especially the younger fans. Hopefully they will wonder what the original version was like.

JWS: Well, I went back to the original and compared the two versions. I really enjoyed going back and hearing it again but I also liked the new version as well. I especially liked the way your bass was more prominent.

JL: When we made the original, we recorded it with two four-track machines. Now, of course, we have far more technology available to use so we were able to get the sound we’d originally envisaged for it. We were able to give the sound for the bass more room and, indeed, all the instruments were given more space, their own space.

JWS: Well I think it’s worked well, it’s a great idea. You’ve not just taken an album, you’ve not merely replicated it, you’ve reimagined it and made it sound more modern and contemporary.

JL: Well that was what I was hoping for, I’m glad you like it.

JWS: I also like that you have Jon Davison of Yes singing Tuesday Afternoon on the new version, I think he sounds really great.

JL: John is a good guy, a great singer writer and a great guy as well. I know him from 2017 and the Royal Affair tour I did with Yes and Asia where I joined them for an encore of John Lennon’s Imagine. Jon joined me for a version of Ride My See Saw, which Jon has done on several occasions very memorably.

JWS: I also liked that you managed to get Graeme Edge involved with his poetry,

JL: Yes I asked Graeme if he be willing to be involved and he said that he’d love to as he’d never read his own poetry before. So Graeme and I went into the studio in Florida where he recorded his poetry, sadly he passed the next week, so he never got to hear the finished recording. but at least I was with him near the end.

JWS: You were big friends with Ray Thomas as well?

JL: Yes I first met Ray when I was 15 and we’ve worked together ever since. I do a song in his memory in my show, Legend of a Mind, in his honour. He was a remarkable man really, I miss him dreadfully .

JWS: It’s good that you uphold their memory in such a manner.

JL: Well I want keep these songs alive otherwise they will fade away! They don’t get played much, unless it’s in a medley, and they deserve more than that really.

JWS: Well I have both of Ray’s albums, and both of Graeme’s, on my shelf. I was listening to some of your back catalogue recently, including a set on the ‘Timeless Flight’ boxset of the ‘Blue Jays’, live from Lancaster University. You had the Trapeze boys with you on that show.

JL: Yes, Dave Holland, Terry Rowley and Mel Galley, fabulous chaps one and all! I produced their ‘Medusa’ album, they were a great band.

JWS: Listening to your albums, as I have been doing over the past few days, has given me a fresh appreciation for just how ground-breaking you were as a band. The music on those first six albums was beautifully crafted, intelligent and well thought out. I think people simply failed to recognise that beauty.

JL: I’m glad you said that because I feel that way as well. People tend to overlook that, I don’t think the media ever gave us a fair chance really but we were pushing the boundaries of where music was.

JWS: I used to love the sleeve artwork as they told the story as well, with their imagery and artwork supporting the music in a complementary manner.

JL: Well that’s what I’m so glad that vinyl is making a comeback. This new album is being released on vinyl in November, I’ve just had the masters from Germany, and it sounds great.

JWS: I think kids today miss the sheer joy of trawling through crates of vinyl, discovering stuff for themselves.

JL: That’s the issue I have with streaming, they dictate what you hear so, say Lennon’s Imagine, you only get to hear certain songs and omit songs like Jealous Guy.

JWS: Well John, my time has gone so I’d better let you go, but thank you for talking with me about things, I really enjoyed it and appreciate your tim.

JL: Well, thank you as well John, I’ve enjoyed talking with you too.

‘Days of Future Passed – My Sojourn’ was released 22nd September, 2023.

Order the album here:

John Lodge – Days of Future Passed – My Sojourn (slinky.to)

Review – Built For The Future – 2084 Heretic

Built For The Future have been around since 2015, releasing two very well received, Sc-Fi themed, progressive albums, ‘Chasing Light’ (2015) and ‘Brave New World’ (2021). The albums are produced and performed by Patric Farrell, with vocals by Kenny Bissett.

Their new album, ‘2084: Heretic’, is a take on George Orwell’s 1984 dystopian future, as it parallels to our current times. 2084 is our future. As told through Orwell’s views and language. The album is said to be darker and heavier than anything the band have done before.

With Patric writing all of the music and Kenny providing vocals and melodies, the duo decided to return to the shorter song format and focusing on a more direct delivery and a heavier, alternative, sound.

What is immediately obvious is a very strong 90’s influence on the sound, Patric’s Fender Jazz bass really brings to mind that exciting Manchester vibe of the Happy Mondays and the like, add in Kenny’s Sci-fi intoned vocal delivery and the dominance of the Mellotron and you really get something unique and rather brilliant.

The urgent, driving nature of opener Memory Machines with Kenny’s at times strident and, at others, elegant guitar playing and the bang on tempo drumming and you could literally be in a world of machines. The bass and guitar riff at the start of The Thought Police has a real Inspiral Carpets note to it and the whole song has a cool, laid back vibe to it, I must admit I am really digging the drums on this album and the bass is ever so cool. Argot opens a little harder with an early Rush vibe to the riffing and some delicious, effects laden, guitar. Central to the concept of an Orwellian-like future that the band are trying to portray is Kenny’s unique vocal delivery. For some types of music, his voice wouldn’t really work but here he has found his home and that voice is perfect for the music.

The excellent songwriting continues with Proletariat, a dream like, thoughtful track that seems to mesmerise and mystify at the same time. Almost brooding in tone but with a chink of light just out of reach to signify hope, it’s a powerful piece of music. Supernatural has a edgy, risky feel to it from the get go, your joining something that doesn’t tow the line, you’re a rebel and you will fight for your freedom. Powerful guitars, moody keyboards and a dynamic rhythm section all combine on this musical thrill ride. That edgy feeling returns with Diaspora, a deliciously dark and heavy intro that brings to mind a dystopian underworld leads into Kenny’s powerful vocal and continues in the background. Then, from out of nowhere, comes a superb chorus that wouldn’t be amiss on a Tears For Fears album. It’s a track with a Jekyll and Hyde nature and one that makes an impressive statement.

Zeit sees Patric’s bass go all Peter Hook, it’s a modern day New Order song that just sounds so good. The way that Patric and Kenny get this brilliant sound with influences from all around and different decades is just incredible. The ebb and flow on this track lends it a feel of nostalgia and wistfulness and makes it one of the stand outs on the album. That nostalgia and longing continues into the mellotron heavy wonder of The Collective where Kenny’s voice is seeking solace and has a touch of remorse. A meaningful, profound song that leaves its mark. Title track Heretic is another driving piece of music that has the 90’s written all over it and I think it work so well with this concept, the guitar and bass are superb and exude energy and intensity. Things come to a close with the epic 101, based on Room 101 from the original Orwell novel. Ten minutes of profound wonder that hypnotises and draws you in to its embrace to leave a mantra running through your mind as the song comes to a close and the last note plays out. Like the best longer tracks, it always holds your attention. The lengthy, subdued and elegant, guitar section and the fractious, staccato piece play off each other perfectly to deliver a clever and inventive piece of music.

Built For The Future have returned with a highly accomplished piece of musical theatre, a concept album that promises a lot and delivers in every way. ‘2084: Heretic’ brings the band to another level entirely, their musicianship and songwriting is sublime and I am sure will just continue to get better and better. A highlight of the year for me!

Released 17th August, 2023

Buy from bandcamp here:

2084:Heretic | Built for the Future (bandcamp.com)

Review – Tiger Moth Tales – The Turning Of The World – by John Wenlock-Smith

This October sees the release of this latest album from Tiger Moth Tales which is, of course, the moniker under which multi-instrumentalist Peter Jones operates and releases his own music. Peter is a highly respected and regarded musician who also fronts Red Bazar as keyboardist and vocalist while also doing the same for Cyan and, more recently, Camel. He is also a member of Francis Dunnery’s It Bites and, in addition, Peter also has a dedicated following and has performed several Mothster parties as warm ups to Big Big Train shows (usually in London at venues near to where the BBT shows are taking place.)

All this is pretty remarkable, especially when you consider that Peter is totally blind and yet still strives to create new music, usually labouring by multi-tracking and mixing using an old 8-track recorder. His music really is a labour of love for him, it must take him a long time to get the sounds he envisages in his mind on tape when recording, but this he does and then shares these fruits of his labours with the world.

‘The Turning Of The World’ follows a different tack to earlier Tiger Moth Tales‘ albums in that it was composed mostly on acoustic guitar and, whilst this lends a softer tone to proceedings, it is abundantly clear who it is performing this music such is the uniqueness of Peter’s voice and the sound is easily recognisable as  a Tiger Moth Tales release.  

For this album Peter is in a fairly upbeat mood and it is clear that Peter, once again, is in a happy place and this comes across in the more personal, and even intimate, songs about friendships, family, love and life, several of which are autobiographical in their lyrics.

Proceedings commences with a short scene-setting instrumental, The Getaway, that  represents the madness, discord and overall business of the modern world in which we live in a post-covid age. The album’s first proper song, per se, is The Turning Of The World which concerns itself with Peter’s fear that, with the world being in the state it is, revolution is on the cards, although whether Peter’s fears are justified or merely baseless is as yet unknown. Peter is concerned about how a victory would look and how its winners would behave, this song makes good use of a melodica to make the song sound plaintive. This is in complete contrast, in terms of emotions, to So Wonderful To Be Alive, which is a composite of childhood memories that Peter holds dear. This song name-checks his grandparents fondly and the adventures they shared together, it also talks of Peter’s teenage years. The track is hinged on a fine acoustic riff, played with the style and progresses onto Peter’s memories of a very happy wedding day with his wife, Kimberly. He sings with real love, gratitude and fondness for her presence in his life. This is followed by the albums longest track, The Snail, The Horse And The River, which concerns itself with using nature to look at how you are feeling. This is possibly mindfulness in practice as Peter says it represents three instances where looking at nature really helped his mood. The first was as a child when a beloved pet had died and Peter felt a Snail moving beneath his fingers helped him to be able to move onward. The second was an interaction with a horse. Peter has a timbre that has tones of Peter Gabriel, his voice is rich, warm, gentle and mellow, it is quite remarkable in fact, there is also good use of a zither alongside the melodica.

Try is about perseverance, resilience or, as we used to call it, gumption! The ability to keep trying and carry carrying on with something, this is a clarion call to keep trying and is a lesson we can all learn from, I think! We’ll Remember is a song that is written about the unexpected and sudden death of David Longdon of Big Big Train with whom Peter recorded a version of Spectral Morning that was recorded in 2015 in aid of The Parkinson’s Society. When the sad news of David’s death was announced, Peter wrote this song in response and, to help him work out his emotions, he bought in Rob Reed and Christina Booth of Magenta to assist him in this touching tribute. Pass It On has another taste of the smooth sound and is again based of his memories of people who have passed on. This song mentions some of those folk, and how we should pass on the kindnesses we have received to others. The Good People Of Munchwald recalls the positive memories that Peter has of a house concert that he was invited to play at in Muchwald in Germany and the friends he made and excellent hospitality that he and his wife received whilst there.

You reached for My Hand is a very personal song, one that details the time that Peter’s father was in hospital and held his hand for support. Thankfully his father made a full recovery but this tender song recounts that time. The Lock Keeper is  ostentatiously about a lock keeper but, in actuality, it is about The March Of Progress and how, in that quest, skills are being lost, never to be replaced and how this, in effect, can make the world a poorer place as a result. It’s very interesting and realistic song that really makes good use of that softer toned. The track has a lively sax and melodica section to it but, for me the song doesn’t really go anywhere special. This is definitely not the case with the last song of the album, All I Need Today, which begins with open guitar chords and sounds not unlike Genesis’ more acoustic moments. The track has underlying keyboards and what sounds like a clarinet but is actually the returning melodica playing and makes for a very full sound. It is a warm song and Peter expresses how his wife and marriage help him to realise the good things he has in his life, in part because of her presence. It is a positive and touching note on which the album concludes.

This is a very different type of Tiger Moth Tales‘ album but its deep subject matter and its thoughtful words and sentiments are actually very worthy and act as a good counterpoint to the downbeat ‘Whispering Of The Wind’ of 2020. Whilst this album has some darker songs there is a prevailing sense of gratitude and warmth within and around these songs, which are a bit more direct emotionally.

It is good to hear Peter singing these songs as, from the heart, this emotionally direct approach pays rich dividends here indeed. I’m pretty sure that Peter’s next album will see him return to the style we have come to know and love but for now he asks us to embrace this different and yet deeply compelling album. Different? Yes, Enjoyable still? Definitely! Embrace it now, I think you will enjoy it if you do.

Released 6th October, 2023.

Pre-order the album from White Knight Records here:

Tiger Moth Tales (whiteknightshop2.co.uk)

Steve Hackett launches live video for ‘A Tower Struck Down’; taken from ‘Foxtrot at Fifty + Hackett Highlights: Live in Brighton’

Legendary guitarist Steve Hackett presents his brand new live audio/visual extravaganza, with the release of ‘Foxtrot at Fifty + Hackett Highlights: Live in Brighton’, set for release on the 15th September 2023.

 Filmed & recorded live on his 2022 UK tour, in the coastal city of Brighton, UK, this release documents Steve and his band celebrating the 50th anniversary of the much-loved Genesis album ‘Foxtrot’. Played in full, this album features fan favourites including ‘Watcher Of The Skies’ and ‘Supper’s Ready’. The show also features a set of Hackett solo material, including ‘The Devil’s Cathedral’ from his latest studio album ‘Surrender of Silence’, and the powerful ‘Ace of Wands’. 

Today they are pleased to launch a live video for the track ‘A Tower Struck Down’, a song that originally appeared on ‘Voyage of the Acolyte’:

Watch the previously released video for ‘Watcher of the Skies’ here:https://youtu.be/bFgdvFnAVX0

Mixed by Chris Lord-Alge & mastered by Ted Jensen at Sterling Sound, the album is now available to pre-order on Ltd 2CD+Blu-ray & Ltd 2CD+2DVD, both including bonus behind the scenes interviews, as well as 5.1 surround sound. A Ltd Deluxe 180g 4LP edition will also be available, and you can pre-order now here: https://stevehackett.lnk.to/FoxtrotAtFiftyHackettHighlights-LiveInBrighton

The full track-listing is:

1.    Intro / Ace of Wands

2.    The Devil’s Cathedral

3.    Spectral Mornings

4.    Every Day

5.    A Tower Struck Down

6.    Basic Instincts

7.    Camino Royale

8.    Shadow of the Hierophant

9.    Watcher of the Skies

10. Time Table

11. Get ‘Em Out by Friday

12. Can Utility and the Coastliners

13. Horizons

14. Supper’s Ready

15. Firth of Fifth

16. Los Endos

Steve Hackett & band continue their busy touring schedule with further “Foxtrot At Fifty & Hackett Highlights” dates in North America beginning in October. For the full list of dates, head to: http://hackettsongs.com/tour.html

Steve Hackett is joined live by Roger King, Rob Townsend, Nad Sylvan, Craig Blundell & Jonas Reingold, as well as on occasion special guest Amanda Lehmann.

About Steve Hackett

Steve Hackett joined Genesis at the beginning of 1971 and gained an international reputation as the guitarist in the band’s classic line-up alongside Peter Gabriel, Tony Banks, Mike Rutherford and Phil Collins. Hackett’s intricate guitar work was a key element of Genesis’ albums from Nursery Cryme (1971) to Wind And Wuthering (1977) including the classic Selling England By The Pound.

After leaving Genesis at the end of 1977, Hackett’s solo career, which now spans more than 30 albums, has demonstrated his extraordinary versatility with both electric and acoustic guitar. Hackett is renowned as both an immensely talented and innovative rock musician and a virtuoso classical guitarist and composer and this was recognised in 2010 when he was inducted into the Rock Hall Of Fame. He has also worked alongside Steve Howe of YES in the supergroup GTR.

Hackett’s compositions take influences from many genres, including jazz, classical and blues. For his later studio works The Night Siren(2017) and At The Edge Of Light (2019) Hackett has explored the influences of world music. Recent tours have seen Hackett celebrate his time with Genesis including a spectacular 2018 tour in which he realised a long-held ambition to perform the works of Genesis live with his band and an orchestra.

The lockdown enforced by the 2020 global pandemic has proven to be a particularly creative period for Hackett. He began by releasing Selling England by the Pound & Spectral Mornings: Live at Hammersmith, a live recording of 2019’s hugely successful tour celebrating that Genesis classic together with the 40th anniversary of one of his most-loved solo albums. Lockdown also gave Hackett the opportunity to write and record two new studio albums, the UK Classical Chart hit Under A Mediterranean Sky and the forthcoming Surrender of Silence.

In 2021, Steve and his band returned to touring, celebrating the classic Genesis live album ‘Seconds Out’, on what was one of his most successful tours to date.

Review – Hats Off Gentlemen It’s Adequate – The Light Of Ancient Mistakes – by John Wenlock-Smith

‘The Light Of Ancient Mistakes’ is the new album from Hats off Gentlemen It’s Adequate and, again, we are offered an intriguing collection of songs, some of which are based on books and authors that Malcolm Galloway has read and been enthralled and inspired by. These books include works by Adrian Tchaikovsky and also the likes of David Cornwell, who wrote as John le Carré, and Conservative MP Chris Bryant. Other tracks are inspired by the works of Sci-Fi authors Iain M Banks and Philip K Dick. So, whilst not a concept album, many of the tracks are thematically linked to literature. This makes the album unusual and also challenging to listen to at times. However, the music is of their usual extremely high standard and there is a lot going on musically which grabs your attention.

The album has several instrumental tracks that combine to make a musical statement. This is pretty different to their last two albums, ‘The Confidence Trick’ and ‘Nostalgia For Infinity’, although the Science Fiction angle is covered by the choice of authors whose works inspired the music. There is some excellent music on this album, including the up-tempo opener Sold The Peace and the sad and aching hurt of Sixteen Hugless Years, which is based on the experiences of childhood neglect. This in itself is a sobering and desperately sad song, it is song where the hurt is palpable and deeply heartfelt. The track really makes an impression as you hear the hurt in the lyrics, all portrayed by Malcolm in a passionately delivered vocal. Also impressive is the song Glamour Boys which is about a group of mostly homosexual or bisexual Conservative MPs who were threatened by the reveal of their sexuality by Chamberlain’s government of the day. These men stood against appeasement and were prepared to suffer for their feelings and their different lifestyles, remember that homosexuality was actually a crime in that time. Many of these MPs paid a high price as a result.

Amongst all this heartache and pain you have interspersed some shorter instrumental pieces that act as a musical sorbet in cleansing the palate before the next song, for example the brief and deeply personal i’mtiredandeverythinghurts, Malcolm’s reflection on coping and living with an invisible disability (chronic pain due to Ehlers-Danlos syndrome) and how he feels when folk ask innocently, and with well meaning, ask how he is doing. It is a surprisingly upbeat track, very brief but it makes a good point about how we ask and often fail to understand or comprehend each other at times.

The next big track is Walking To Aldebaran, which is inspired by the Adrian Tchaikovsky novella in which miscommunication between an astronaut and a malfunctioning, but well intended, machine leads to a monstrous transformation. Parts of this inspiration comes from the novella and other parts come from rhythmic patterns inherent in Peter Maxwell Davies‘ ‘Eight Song For A Mad King’. This is a very diverse track, often jarring and abrupt, with a lot of sequenced keyboards and Chapman Stick. It is highly developed and has great sounds contained within its nearly nine minute duration. It is, ultimately, another rather sad and forlorn piece though. Goodbye Cassini is a flute led tribute to the space probe that explored Saturn and its icy moons. When its fuel supply was exhausted on September 15th 2017 it plunged into Saturn’s atmosphere, still returning data to its end. A rather profound tribute to what was a ground-breaking and important scientific research mission that last nearly twenty years and covered nearly five billion miles. The Man Who Japed is inspired by Philip K Dick (who wrote ‘Do Androids Dream Of Electric Sheep’) and the album’s title track was inspired by Iain M Bank’s ‘Look To Windward’.

The album is an interesting concept and also a very rewarding one ,especially if you delve into what thoughts lie behind the songs and then take the time to let the music work its own magic on you. Within this release you will find many excellent musical passages, some thought provoking words and some deep and important themes and questions. For me, this is another fine, well thought, considered and expertly delivered musical statement from Hats Off Gentlemen It’s Adequate.

Released September 9th, 2023.

Order from bandcamp here:

The Light Of Ancient Mistakes | Hats Off Gentlemen It’s Adequate (bandcamp.com)

Southern Empire share new single “Hold On To Me” from upcoming new album Another World

Another World is out on September 4th – Pre-order begins today!

Southern Empire recently announced the new album, Another World, due out on September 4th, 2023 on GEP Records. It’s been five years since their last offering ‘Civilisation’ made such a big impression on the music press and fans alike and now the band have again created a masterpiece of musicianship and production.

You can now Pre-Order Another World here:
CD: https://gep.co.uk/products/another-world-pre-order
& Orange Marbled Vinyl: https://gep.co.uk/products/another-world-orange-marbled-vinyl

Today, the band share the second single from the album. Watch the video for “Hold On To me” here:

Sean Timms had this to say about the new single:
“From the very moment Cam Blokland, our exceptional guitarist, strummed the opening chords of ‘Hold On To Me,’ I was filled with the certainty that we had stumbled upon something extraordinary – one of the finest songs we would ever record.

The sheer brilliance of Cam’s lead vocals, complemented by the mesmerizing backing vocals from Shaun Holton, our new front man and rhythm guitarist, left an indelible mark on my mind. As the last note faded away, I knew ‘Hold On To Me’ wasn’t just another track; it was destined to be a hit.

The emotional depth and captivating melodies woven into the song have an undeniable power to linger in the hearts of listeners long after the music stops. ‘Hold On To Me’ is an unforgettable masterpiece that showcases the immense talent and chemistry of our band.”

Tracklisting:
1. Reaching Out (4:17)
2. Face The Dawn (12:45)
3. Hold On To Me (6:31)
4. When You Return (6:20)
5. Moving Through Tomorrow (10:23)
6. White Shadows (19:23)
7. Butterfly (4:25)

Watch the video for the first single “Reaching Out’ here:
https://youtu.be/l-miycsFAHQ

Shaun Holton – Lead and Backing Vocals
Cam Blokland – Electric and Acoustic Guitars, Lead and Backing Vocals
Jez Martin – Fretted and Fretless Bass
Brody Green – Drums, Hand Percussion, Backing Vocals
Sean Timms – Keyboards, Programming, Lap Steel Guitar, Backing Vocals

Review – John Greenwood – DARK BLUE

Following a life training as a Plastic Surgeon and practicing as a Burn Surgeon and Director of the Adult Burn Centre of the Royal Adelaide Hospital. retirement has finally allowed John Greenwood to pursue some musical dreams.

Just prior to retiring, he met Mark Trueack who had been pointed his way by Jimmy Keegan (not that one), a very long-time friend of John’s and the guitarist in Trueack’s fledgling UPF Acoustic. Following a hand-injury, and unable to play, Keegan suggested that John might be interested. After a few rehearsals with UPF Acoustic, Trueack introduced John to Sean Timms, suggesting a rekindling of Unitopia and a studio album based on ailments suffered by the band’s members. At this stage, Sean helped John establish his own home studio.

John began to record a series of solo tracks (some with themes he composed as a teenager, and some completely new). The songs quickly divided into two camps; those about man’s inhumanity to man, governmental choosing of economy over citizens and even the health of the planet (DARK). The others focussed on sadness due to various forms of loss (physical, experiential, personal – BLUE). He added into that group his cover of what he considers the ultimate song of loss, Tony Banks’ Afterglow.

His ‘Dark Blue’ album features several family members (Wife, Helen, provided the inspiration and lyrics for A Proper Song; Daughter, Emma, sings on Rosco and The Ocean as well as playing the introductory ‘cello on the latter; Son, Sam, plays the Grand piano piece in The Ocean, whilst Sam’s wife Sarah plays violins on Too Late!, Too Late! Reprise and The Ocean whilst her sister Nicola plays flute on the same tracks). John’s brother-in-law, Andrew Fanning, helped with lyrics for Too Late! and The Ocean, whilst the daughter of a work colleague of John’s, Kirstin Damkat, spoke the child’s soliloquy.

A school friend of John’s (Andrew Rowland) provided all the artwork. Sean Timms added additional keyboards and some great sound effects, and a number of drummers were involved (international artist Craig Blundell and local drummers, Ben Todd and Mike Giuffreda). Sean drafted in Nick Sinclair to replace John’s bass on Rosco and Julian Ferraretto to play gypsy violin on Packin’ my Suitcase. Other than that, it’s all John on vocals, all guitars, most of the bass guitars, keyboards and orchestration.

So there is a really extensive introduction to John Greenwood’s solo album and, do you know what?, ‘Dark Blue’ has to be one of the most truly progressive albums I’ve heard this year. At times it is like musical theatre, bombastic, orchestral overtures and idiosyncratic, over the top, vocals and, at others, it is just utterly sublime, wistful and beautiful music with ethereal vocals (check out John’s daughter, Emma, on the epic The Ocean) but it never fails to captivate and engross you in it’s lengthy sixty-nine minute running time.

You’ve read about the supporting cast that helped to make this wonderful release, I mean Craig Blundell for god’s sake!, but this is John’s creation, 100% and his sureness of touch and songwriting genius can be felt in every word and note. If you’re a fan of Unitopia and UPF then you can feel the slight influences on the album and that is a good thing, the expansive music and thought provoking subject matter are cleverly integrated into this amazing creation.

The epic A Little Piece of Rosco Vidal is progressive rock at its finest, a build up of musical intensity, intricate melodies, fine vocals and music that is both cerebral and emotive, superb! The trio of Too Late!, Too Late! Reprise and The Ocean stray boldly into the territory of musical theatre where the elegant vocals of both John and Emma could grace any West End stage but it’s blended perfectly with fine progressive sensibilities to almost create its own identity and check out the wondrous violin and flute, just beautiful.

The passionate, powerful duo of Requiem and Heartless add some meat to the bones (John’s vocal on the latter is dynamic and vibrant) and the almost singer/songwriter vibe of Inside is powerfully moving. The whimsical, bluesy humour of Packin’ My Suitcase shows John’s humorous side with the gypsy violin of Julian Ferraretto the archetypal twinkle in the eye and there’s a simple splendour to The Kiss with Nick Magnus’ impressive orchestration.

John’s version of Afterglow, the moving track originally By Tony Banks, is just sublime and won’t leave a dry eye in the house and this sublime album closes with the fantastic A Proper Song, reminiscent of Wish You Were Here. Pared back acoustic guitar and elegant vocals along with Hammond Organ ( you’ve got to have a Hammond!) deliver a consummate listening experience and when the electric guitar solo kicks in, it’s just heaven!

It’s not often we hear a truly progressive release nowadays but, almost from out of nowhere, John Greenwood has entered the fray with one of the finest releases of 2023. The musicianship and songwriting are top notch and, like all the best albums, I find this on almost permanent rotation, it is, to put it simply, utterly superb!

Released 1st July, 2023.

Order from bandcamp here:

DARK BLUE | John Greenwood (bandcamp.com)

Big Big Train sign worldwide deal with InsideOutMusic

Big Big Train | Trieste, May 2023 | ph Massimo Goina

InsideOut Music is delighted to announce that it has signed Big Big Train to a multi-album deal for new studio releases. The band are currently working on a new studio album, expected to be released in spring 2024, and have recently been recording in Trieste, Italy, where lead vocalist Alberto Bravin is based.

Big Big Train bassist/founder Gregory Spawton comments: “We have ambitious plans for Big Big Train and are very pleased to have signed this deal with InsideOut. Having run our own record label, English Electric Recordings, for a lengthy period, it’s clear that the music industry has changed enormously in recent years and we believe that we are best positioned to grow BBT further by becoming an InsideOut band. Over the last decade we had received offers from various labels. When we considered the different options, signing up with the premier label for progressive music was the logical choice. We’re very excited about this new era for the band and working with InsideOut/Sony.”

Drummer Nick D’Virgilio adds: “It’s an absolute thrill for me that Big Big Train has become an InsideOut band. Over the years, previously as member of Spock’s Beard and more recently alongside Neal Morse and Ross Jennings, I’ve worked extensively with Thomas Waber and his team at InsideOut/Sony. From experience I know that there is no better label for Big Big Train to be working with. It’s wonderful to join a roster that includes the biggest names in the prog genre such as Dream Theater, Steve Hackett, Jethro Tull, Kansas, Devin Townsend and Yes. We’ve got a lot of new Big Big Train music in the works and with InsideOut’s unrivalled reach across the progressive rock world we hope to reach plenty of folks who may not be familiar with us yet.”

Label head Thomas Waber comments: “We have been in talks with the band for a while and are happy that we can finally announce our partnership. Big Big Train have been proudly carrying the flag for progressive music, and we look forward to helping them on their very bright journey ahead. We are all excited to be stepping on board this particular train!”

Check out a teaser of brand new music here:

In parallel with this deal with InsideOut, Big Big Train will continue to run their English Electric Recordings label and expect to commence a re-issue campaign for previous studio BBT albums in late 2024.

Big Big Train’s latest album, Ingenious Devices, was released on 30th June 2023 (CD, 2LP black and 2 LP sky blue vinyl; Bandcamp) and is available to stream.

The band will embark on their most extensive ever tour in August and September this year, with 17 shows taking place across 9 countries. Big Big Train will also be on board Cruise To The Edge in March 2024. Find the full list of dates in 2023 below:

24th August – The Court Theatre, Tring, UK (warm-up show)

26th August – Cultuurpodium Boerderij, Zoetermeer, The Netherlands

27th August – Markthalle, Hamburg, Germany

28th August – Stora Teatern, Gothenburg, Sweden

29th August – Cosmopolite, Oslo, Norway

30th August – Fryshuset Klubben, Stockholm, Sweden

31st August – Viften, Copenhagen, Denmark

2nd September – 2 Days Prog + 1 Festival, Revislate, Italy

3rd September – Z7, Pratteln, Switzerland

5th September – Neuberinhaus, Reichenbach, Germany

6th September – Victoria Carlswerk, Cologne, Germany

7th September – Colos-Saal, Aschaffenburg, Germany

8th September – Mozart-Saal, Stuttgart, Germany

10th September – Queens Hall, Edinburgh, UK

11th September – Town Hall, Birmingham, UK

12th September – Cadogan Hall, London, UK

13th September – Cadogan Hall, London, UK

Steve Hackett announces “Foxtrot At Fifty + Hackett Highlights: Live in Brighton’ – out 15th September 2023

Legendary guitarist Steve Hackett presents his brand-new live audio/visual extravaganza, with the release of ‘Foxtrot at Fifty + Hackett Highlights: Live in Brighton’, set for release on the 15th September 2023.

 Filmed & recorded live on his 2022 UK tour, in the coastal city of Brighton, UK, this release documents Steve and his band celebrating the 50th anniversary of the much-loved Genesis album ‘Foxtrot’. Played in full, this album features fan favourites including ‘Watcher Of The Skies’ and ‘Supper’s Ready’. The show also features a set of Hackett solo material, including ‘The Devil’s Cathedral’ from his latest studio album ‘Surrender of Silence’, and the powerful ‘Ace of Wands’. 

Shot by long time collaborator Paul Green, you can now watch the band perform ‘Watcher of the Skies’ here:

Mixed by Chris Lord-Alge & mastered by Ted Jensen at Sterling Sound, the album is now available to pre-order on Ltd 2CD+Blu-ray & Ltd 2CD+2DVD, both including bonus behind the scenes interviews, as well as 5.1 surround sound. A Ltd Deluxe 180g 4LP edition will also be available, and you can pre-order now here: https://stevehackett.lnk.to/FoxtrotAtFiftyHackettHighlights-LiveInBrighton

The full track-listing is:

1.    Intro / Ace of Wands

2.    The Devil’s Cathedral

3.    Spectral Mornings

4.    Every Day

5.    A Tower Struck Down

6.    Basic Instincts

7.    Camino Royale

8.    Shadow of the Hierophant

9.    Watcher of the Skies

10. Time Table

11. Get ‘Em Out by Friday

12. Can Utility and the Coastliners

13. Horizons

14. Supper’s Ready

15. Firth of Fifth

16. Los Endos

Steve Hackett & band continue their busy touring schedule with further “Foxtrot At Fifty & Hackett Highlights” dates in North America beginning in October. For the full list of dates, head to: http://hackettsongs.com/tour.html

Steve Hackett is joined live by Roger King, Rob Townsend, Nad Sylvan, Craig Blundell & Jonas Reingold, as well as on occasion special guest Amanda Lehmann.

About Steve Hackett

Steve Hackett joined Genesis at the beginning of 1971 and gained an international reputation as the guitarist in the band’s classic line-up alongside Peter Gabriel, Tony Banks, Mike Rutherford and Phil Collins. Hackett’s intricate guitar work was a key element of Genesis’ albums from Nursery Cryme (1971) to Wind And Wuthering (1977) including the classic Selling England By The Pound.

After leaving Genesis at the end of 1977, Hackett’s solo career, which now spans more than 30 albums, has demonstrated his extraordinary versatility with both electric and acoustic guitar. Hackett is renowned as both an immensely talented and innovative rock musician and a virtuoso classical guitarist and composer and this was recognised in 2010 when he was inducted into the Rock Hall Of Fame. He has also worked alongside Steve Howe of YES in the supergroup GTR.

Hackett’s compositions take influences from many genres, including jazz, classical and blues. For his later studio works The Night Siren(2017) and At The Edge Of Light (2019) Hackett has explored the influences of world music. Recent tours have seen Hackett celebrate his time with Genesis including a spectacular 2018 tour in which he realised a long-held ambition to perform the works of Genesis live with his band and an orchestra.

The lockdown enforced by the 2020 global pandemic has proven to be a particularly creative period for Hackett. He began by releasing Selling England by the Pound & Spectral Mornings: Live at Hammersmith, a live recording of 2019’s hugely successful tour celebrating that Genesis classic 

together with the 40th anniversary of one of his most-loved solo albums. Lockdown also gave Hackett the opportunity to write and record two new studio albums, the UK Classical Chart hit Under A Mediterranean Sky and the forthcoming Surrender of Silence.

In 2021, Steve and his band returned to touring, celebrating the classic Genesis live album ‘Seconds Out’, on what was one of his most successful tours to date.