Like a never ending musical production line staffed with working class heroes from the 50’s and 60’s, those folks at Chippy Records have released the fourth Sleeperman single of 2018 and, once again, it is a humour filled triumph of social commentary and the lives that normal people lead.
“Aged eight she was going to join the ballet, at 16 she went to Spain and shared a chalet, at 24 she’s got three kids from men she didn’t marry.”
The witty and pithy lyrics in Keeley Really seem to come from a well that never seems to run dry and the jovial, traditional music delivery adds a real down to earth feel to everything that these talented guys touch. John Hilton’s vocal delivery is almost spoken as well as sung and it adds a narrative feel to the song. Neil Scott’s jangly guitar sound echoes with hues of 50’s rock n’ roll with its Duane Eddy twang and Steve Skinner and Phil Sharp are the perfectly chilled rhythm section that glue everything together.
“She reads them stories every night, she brings her kids up right. Her shoulders tattooed with their names; Diesel, Magaluf and James.”
These guys just seem to get how I feel about music spot on every time, a real soundtrack for my generation.
As ever, with their faux 45rpm style, there’s a B-side and The Places That We Knew Before Are Not Those Places Anymore shows a more melancholy side to the band and the songwriting.
“Remember swimming naked in the ship canal because we’d seen it in a film…”
It’s a sepia tinged wistful look back at younger days when anything seemed possible and any ambition was attainable. As the saying goes, nostalgia isn’t what it used to be but the bitter sweet lyrics and music are delivered just about perfectly.
Sleeperman have done it again, this is becoming a series that is as addictive as anything that Sky, Amazon or Netflix can deliver and, if you haven’t already, come join us on this incredible ride.
Here we go again folks, another episode of my recommendations and have we got some pretty powerful and intense stuff for you this time so, without further ado…
Frequency Drift – Letters to Maro
Intense and complex cinematic art rock with a heavy progressive feel, that has been the core of German band Frequency Drift’s sound for a long time. Their previous album ‘Last’ (2016) is a case in point. With a penchant for the dramatic and sophisticated these impressive musicians have always delivered very emotive albums.
‘Letters to Maro’ takes that succesfull format and builds on it impressively with the addition of the soulful vocals of Irina Alexa to the core of Andreas Hack, Nerissa Schwarz and Wolfgang Ostermann. Irina also adds a subtle influence with her writing style and lyrical implementation.
Where ‘Last’ was underpinned by the heavy guitars, this new album is much more rounded sonically and there’s an inherent melancholy and lightness to the soulful and emotive music and it results in a vivid, melodramatic musical experience that will leave a long lasting impression on you.
‘Letters to Maro’ is more than just a collection of songs, it is a hugely involving, artful and immersive experience that everyone one should experience at least once.
“Recorded in a smoke filled private studio high in the coastal mountains of Southern California, ‘The Whiskey Mountain Sessions Vol. II’ is forty minutes of contemporary instrumental music at its dynamic best. Hillmen features the talents of Peter Hillman(Kiss The Frog) on drums, Gayle Ellett (Djam Karet) on keyboards, Jeff Smith (Insects vs. Robots) on bass and Lito Magana Jr. (Mestizo Beat) on guitar.” – so says the press blurb for this intriguing album of so-called Free Improvisation music.
This is raw, unfiltered music written without even a score and recorded in one literal ‘jam’ session. Opener The Long Way Home is full of psychedelic guitar, dreamy Minimoog synth stylings and incredibly laid back jazz drumming. Whiskey soaked, smoke filled bar nights come to mind on this super laid back track. Rhodes electric piano, Minimoog, vintage guitars and amps are combined with state of the art recording technology to generate a warm, unique sound.
The vibrant feel continues throughout the rest of the album and leaves a permanent grin on your face, nostalgic and yet forward looking this release showcases the magic that can come from improvised music, music that can grow and evolve over time.
Get your hands on this exceptional and singular release, you won’t regret one minute of it!
I was a fan of the last Deafening Opera album ‘Blueprint’ which was a real progressive feeling record so I was very happy when this new release popped through my letterbox. ‘Let Silence Fall’ promised to be an evolution in every regard which did make me a bit nervous but after the first listen this excellent German band had delivered superb musical theatre once again.
With a more modern, even symphonic, delivery this concept album is a rich musical tapestry of passionate vocals and thunderous guitar riffs entwined with more delicate and emotive pieces to give an all-encompassing theatrical musical experience.
Showing a maturity and sheer complexity and depth, Deafening Opera not only prove themselves to be very proficient musicians but master storytellers as well as this involving dramatic piece of work ebbs and flows effortlessly. Showmanship as much suited to the stage as to a recorded work, it is a highlight of the year for those of a symphonic rock persuasion.
There’s some really good music coming out of France. I’d heard of Weend’ô but it wasn’t until I’d made their acquaintance at last year’s Summer’s End Festival that I really got to see and hear how good they really were.
A group of talented and consummate musicians fronted by the amazing vocal talent of Laetitia, a singer heavily influenced by Anneke Van Giersbergen and one who has completely transcended any such comparisons now. The band’s sound has previously been described as falling somewhere between Pink Floyd’s more ambient moments and the modern riffs of Tool, a fair comparison although I feel they are ploughing their own unique musical furrow nowadays.
Atmospheric rock music with prog-tinged hues and a real under current of the blues to the fluent guitar playing, I find it totally addictive and fronted by Laetitia’s sultry rock voice it takes on a whole life of its own. ‘Time of Awakening’ is a call to humanity to keep faith and hope despite the appalling events currently afflicting the world. Discussed in the wistful and ethereal hymn Elea, nothing can stop the true evolution…
Seven songs, forty-three minutes long, this deeply engaging album will immerse you in Weend’ô’s singular musical world and it is a place you may find exceedingly difficult to leave. This wonderful album is definitely my unexpected find of the year so far for 2018.
Ahead of the release of their brand-new studio album, Soyuz, on May 18th Norwegian Art-rock progressive outfit Gazpacho have revealed their visually stunning and emotive new video for the track “Exit Suite”
Gazpacho’s Thomas Andersen explains the song’s creative birth “Exit Suite is the cinematic sounding result of a night playing with matches in the studio. It is a song about the fear of dawn and the passing of the old day. The matches were supposed to be our short flickering lives in the dark universe and we ended up making a rhythm out of them and building a song on that rhythm.”
Andersen continues on the creation of the video clip “The short film accompanying the song was made by Dewi Allen from the University of South Wales, Cardiff and we loved it. We had lots of ideas on what the film should be like and he had the wisdom to ignore everything we said and do it his way. It’s perfect, speaks for itself and showcases his very special talent. I hope you all agree.”
Gazpacho have become synonymous for their distinctive art rock that balances tense and beautiful arrangements, sinister and soulful melodic lines, Soyuz furthers their experimental output. With a holistic approach to the album writing process, imbuing each with a captivating concept – inSoyuzthe concept was born from the idea of how beautiful moments pass and cannot be “saved for later”, so within Soyuz are interconnected tales of people and lives “frozen in time”. Taking inspiration from a multitude of eras and subject matters, including the doomed Russian space capsule Soyuz and its iconic captain Komarov; the Tibetan Buddhist funeral practice in “Sky Burial”; the inclusion of the oldest recording of the human voice from 1860 and the Hans Christian Andersen inspired “Emperor Bespoke”.
Recorded at Krypton Planet & St. Croix Fredrikstad in Norway, engineered by Thomas Andersen, Kristian Torp and Mikael Kroemer, mixed by John Rausch and mastered by Sonovo Mastering’s Thor Legvold. The artwork, designed by painter Antonio Seijas, is inspired by Russian Cold War colours and fonts from the Soyuz One flight era.
Soyuz will be released on CD / LP and digitally (with pre orders receiving “Soyuz One” and “Exit Suite” as instant downloads) and is available to pre-orderHERE
Gazpacho have confirmed they will be taking Soyuz on the road this summer with a series of headline shows and an appearance at Be Prog! My Friend Festival in Barcelona, with more dates to follow
The Sea Within – the new art-rock collective comprising of Roine Stolt(Transatlantic, The Flower Kings), Daniel Gildenlöw (Pain of Salvation), Jonas Reingold (Steve Hackett, The Flower Kings, Karmakanic, The Tangent), Tom Brislin (Yes Symphonic, Renaissance, Spiraling, Deborah Harry) & Marco Minnemann (The Aristocrats, Steven Wilson, UK, Joe Satriani) – have announced that their debut self-titled album will be released on June 22nd, 2018.
Let’s get one thing straight from the start. The Sea Within is more of an amalgamation of some serious talents, than a regular “supergroup”. These musicians have come together to create a unique album. Guitarist/vocalist Roine Stolt, bassist Jonas Reingold, keyboard player/vocalist Tom Brislin, drummer/vocalist Marco Minnemann and vocalist/guitarist Daniel Gildenlöw have a vast reservoir of experience. Look at the portmanteau of artists with who they’ve worked: The Flower Kings, Transatlantic, Jon Anderson, Steven Wilson,The Aristocrats, Joe Satriani, Yes, Steve Hackett, Renaissance, Pain Of Salvation, Deborah Harry, Meatloaf, Karmakanic … that of itself tells you this is something very special.
“I suppose it all began to take shape in the autumn of 2016,”explains Stolt. “I had a chat with Thomas Waber, the boss at InsideOut Music, about the idea of putting together a new band. I wanted to move in a fresh direction with new collaborations. So Thomas gave me the ‘go ahead’ to seek musicians for a new project.”First on-board was The Flower Kings bass player Jonas Reingold.- “He is a long time bandmate and friend and we were also very keen to get keyboardist Tom (Brislin) involved – after seeing his synth pyrotechnics with legends Yes ‘Symphonic’ and with Camel. Then we have been a fans of ‘Aristocrats’ drummer Marco for a long time; I first heard of him 15 years ago and he is a brilliant drummer, unique energy. Then when we discussed ideas for singers, Daniel’s name came up, he has such a great range and dynamic voice and we’ve worked together on and off over the years.” Also added later to the bands line-up for live shows was vocalist & guitarist Casey McPherson of ‘Flying Colors’ & ‘Alpha Rev’, who also sings a couple of songs on the album.
Initially the band went to Livingston Studios in London last September to begin the process of assembling all the material and recording it for the debut album.“Most of the material you’ll hear are really band compositions. Of course, ideas were triggered by all of us. Sometimes Jonas would come up with a part, chord sequence or tune and then I or Tom would write melody & lyric and some new riff section and Marco enhancing with further musical metric twists and developments – then Daniel would add or rewrite some of the lyrics, change or add more melodies. Overall, the vast majority of the tracks have been worked on and developed by all of us in one way or another.”
The entire recording situation took about six months, and the band also have some very special guests featured on the album.“We have got Jordan Rudess from Dream Theater playing piano on one song. The legendary Jon Anderson sings on another track, while ‘wind ace’ Rob Townsend, who plays saxophone and flute with Steve Hackett, is also on the record. Each of them brings a different flavour to the music.”
“People have asked me how I would describe what we have done, and it is almost impossible. I would have to say it sounds like…us, ‘The Sea Within’. Our tastes are very eclectic – from prog to jazz to classical, to heavy rock, folk, punk, electronica and pop. We all come from a different background – so here everything goes.This has been about putting those diverse influences into the music. I feel you will hear all that’s good about pop – with great melodies and hooks – plus the rawness of metal, improvisations, symphonic and movie soundtracks. We also left room for each of us to take off on flights of instrumental jamming. That was the basic idea, anyway. But until we all got together, we had no idea where it would lead or if it would actually work.” The band have ended up recording close to two hours of music, and will be releasing it all in June on what will be a self-titled album.
The Sea Within as a music collective have plans to perform live, and will make their stage debut at ‘Night Of The Prog’ in Loreley, Germany which happens from July 13-15 and will bring special guests for that evening. “As far as I am concerned, we will try do as much touring as possible. We have a great band, great label and our agent Rob Palmen on-board. We have great artwork by Marcela Bolivar, all looks bright. However Daniel will not be able to join us for touring now, as he has commitments with main band Pain Of Salvation. With Casey taking the vocal spot, now with us live, we can go out on the road and play this album and beyond and grow as a band.We have so much to offer musically, on record and on stage and I am sure we will develop a lot over the next few years. But ‘The Sea Within’ album is a great start. I am excited for everyone to hear what we have done and am now thrilled to start working on the songs for the live show.”
The album will be available as a special edition 2CD digipak, gatefold 2LP vinyl + 2CD & as digital download. You can find the full track listing below: Disc 1:
1.Ashes of Dawn
2.They Know My Name
3.The Void
4.An Eye for an Eye for an Eye
5.Goodbye
6.Sea Without
7.Broken Cord
8.The Hiding of the Truth
Disc 2:
1.The Roaring Silence
2.Where Are You Going?
3.Time
4.Denise
As mentioned, The Sea Within has recently announced their first confirmed live date, taking to the stage at Night of the Prog Festival 2018 at Loreley, Germany on the weekend of 13-15th July 2018. Tickets are available now here: http://www.nightoftheprogfestival.com/en/home-2/
London prog/post rock quartet Only Echoes Remain have today released emotional and heavy live single Monolith, their first since last summer’s acclaimed debut concept album ‘The Exigen’t, filmed live at their recent Chaos Theory show with Godspeed-collaborator thisquietarmy.
The band says “the new record definitely feels like a natural evolution for us. There’s a lot more riffs and some heavier sections, while keeping the delicate moments we’re known for, but then further developing the melodic interplay we started to explore in songs like Aurora last year. Monolith is almost the perfect transition between the records, as it has a feel of The Exigent about it yet our sound has clearly moved on from that – I think we learned a lot about each other musically while on the road last year and are really starting to make the most of that.”
We at Progradar thought that ‘The Exigent’ shined in a sky full of instrumental stars and glimmered brightly enough to be picked out from among the hundreds that shone on a daily basis.
Monolithtakes that wonderful post-rock feel of the first album and adds massive doses of crunching, monolithic guitar riffs that give the band’s music some welcome added bite and grit and should make their forthcoming new long player a definite force to be reckoned with. Intelligent and thoughtful instrumental music with enough energy, and power to appeal to a wide kaleidoscope of music fans.
When asked if the next record will also be a concept album, guitarist Arran Oakes said “while it won’t tell a full narrative like The Exigent did, there is a concept that ties the next record together, loosely covering the events and times leading Earth to the position where the Exigent mission became necessary, so on that level it’s a sort of prequel to the last album. It’s a lot more energetic than the last one though – even louder too, somehow!”
“We’re very excited about the next chapter for OER!”
Only Echoes Remain’s sophomore album will release in late 2018, meanwhile see their captivating live show:
13/4 – Urban Bar, London
8/5 – The Star Inn, Guildford
14/5 – The Exchange, Bristol (supporting Toundra)
16/6 – Portals Festival, London
/16/8 – ArcTanGent Festival, Bristol
KENTUCKY PROGGERS ALSO SHARE FIRST SINGLE ‘WE SMELL THE BLOOD’
Dream The Electric Sleep have announced details of an unheard ‘lost’ 2008 album ‘The Giants Newground’ which will be released on 18/05/18 via 7Hz Productions and shared the first single to be heard from the album We Smell The Blood.
Dream the Electric Sleep officially formed in 2009 but in 2008, Matt Page and Joey Waters decided to write and record an album together. It was the first time Page wrote the lyrics and took over the lead vocal position in a band, and the first time Page and Waters were the sole writers of a project. “After years of playing together, Joey and I were ready for something different… a new direction, and honestly at that time, a last attempt to find a way forward together as a band. We had played with so many different people and never found a line up that captured what we wanted so this was it! We were attempting to reconceive our efforts together and this album represented that departure” explains Page.
When the album was completed in 2008, it had a limited regional release and it happened to land in the hands of bassist and songwriter, Chris Tackett. He was living in Huntington, West Virginia at the time but had just accepted an art directorship at a company in Lexington, Kentucky where Page and Waters lived. After Tackett heard the album, he was impressed and intrigued. Through a mutual friend, he found out Page and Waters were looking for a bass player. Waters and Tackett set up try out rehearsal and after the first song, Page and Waters were sold. Chris Tackett would be the new bass player on this new journey. Page, Waters, and Tackett had no band name at that point and rehearsed the songs from the recently released album to start playing some regional shows. It didn’t take long for the trio to begin writing new material. That new material became the band’s first official release, ‘Lost and Gone Forever’.
Dream the Electric Sleep never played songs from that first unofficial album that brought them together.
Discussing the looming presence of the lost release, Matt Page explained: “Over the years I thought about that album a lot. It haunted me a bit. The album meant so much to me on a personal level but I knew we had to move forward, not return to something old. In the summer of 2017 I realized it had almost been 10 years since that album came to fruition. It occurred to me it would be a great time to revisit the material and put together a 10th year anniversary release. It’s a way for the band to reflect on our origin and share that with all those who have supported us over the last decade. That album was the springboard for what would become Dream the Electric Sleep.”
The album titled, ‘The Giants’ Newground’, was revisited, re-tracking some guitars, bass, vocals, and drums, mixed with many of the original takes from 2008.
“We wanted to update the album some but leave the original feel. We worked over the summer of 2017 and are finally ready to release this 10-year anniversary album! It feels good knowing this album can go into the world and become part of the DTES catalogue where it belongs. I felt like it was a homeless album for so long and now it will have a place to live. I can finally move on from it knowing it is out in the world.”
‘The Giants’ Newground‘ is based on a series of Appalachian Jack tales that Page’s mother read to him when he was young. “They were these dark, old, mysterious stories that had a deep impact on my imagination. The book that we had in our house was old and falling apart and had been in the family for a long time. The stories always revolved around the main character, Jack, and his constant wandering and leaving. That idea of drifting from place to place, living on the edge, constantly on the run, felt familiar to me when I was in my mid 20’s and it’s the reason I decided to use those stories as inspiration to write an album. It’s a modern re-telling of Jacks search for home, something I too was searching for. A place to find shelter from the storm of my life and mind.”
‘The Giants’ Newground’ will be released worldwide on May 18th 2018 via 7Hz Productions (ADA) and will be a precursor to a brand new album being presently recorded and due for release in 2019.
SCREENING AND Q&A HOSTED BY EDITH BOWMAN, ATTENDED BY JACK’S FAMILY & MUSICIANS WHO PERFORMED AT THE TRIBUTE, INCLUDING MD NITIN SAWHNEY, EVENT TAKES PLACE ON WHAT WOULD HAVE BEEN JACK’S 75TH BIRTHDAY.
On the first anniversary of Jack Bruce’s passing, a star-studded line up of world class musicians performed a moving musical tribute to the Scottish legend at The Roundhouse in London.
The tribute concert, musically directed by Nitin Sawhney, featured Jack’s Cream bandmate Ginger Baker, Roxy Music’s Phil Manzanera, Jethro Tull’s Ian Anderson, Joss Stone, Level 42’s Mark King, Living Colour’s Vernon Reid, Uli Jon Roth, Hugh Cornwell and many more. This incredible line-up delighted the capacity audience with a stunning selection of Bruce’s songs spanning his entire career, from the pre-Cream days to his final album ‘Silver Rails’.
The tribute concert was recorded for posterity and is presented in HD with surround sound audio. This unique recording will receive its debut screening in the luxurious surroundings of the Curzon Mayfair on 14th May 2018. This is a particularly auspicious date, as it would have marked Jack’s 75th Birthday.
This exclusive screening will be followed by a Q&A hosted by Edith Bowman. This will offer audience members a unique opportunity to quiz many of the original tribute’s contributors, including music director Nitin Sawhney, Phil Manzanera, Ian Anderson, Mark King and members of Bruce’s family, about this wonderful concert.
Nitin Sawhney says: “I felt deeply honoured when Natasha and Margrit asked me to musically direct this wonderful tribute show to Jack Bruce’s fantastic body of work. Directing such a range of musical legends, who all came together to reproduce and perform the highlights of Jack’s work, was an enormously inspirational experience. Everyone was determined to rise to the occasion and bring their own special talents to make this an unforgettable night and a fitting response to one of rock’s greatest songwriters and icons. Thank you to all of Jack’s amazing family for the privilege of bringing such an important evening to life.”
This tribute concert is a fitting and lasting memory of the musical repertoire of which Jack was such a part. And of the man himself; often outspoken, volatile and impassioned, he retained the humble warmth and intelligence which marked him as one of the great musical personalities of our time.
VIP TICKETS
A very limited number of VIP tickets are on sale via:
VIP Ticket includes a Royal Box seat, access to the Private VIP Reception, glass of bubbly, exclusive Jack Bruce merchandise package including tote bag, personalised event T-shirt, limited edition concert programme, and 2 x AAA passes for the after party raffle draw.
There are currently no further plans to release the footage, so this screening is the only occasion at which fans can watch this incredible live concert recording.
All profits from the screening will go to EACH – East Anglia’s Children’s Hospices. EACH were also the beneficiaries of the original tribute concert, which raised them over £35,000.
JACK BRUCE ‘SUNSHINE OF YOUR LOVE’ TRIBUTE SCREENING
It’s been a long time coming, but former Mansun frontman Paul Draper reappeared recently onto the music scene with a new album called ‘Spooky Action’ (wonder where he found that title…..) and a fresh young touring band.
This year, on it’s the 21st anniversary of Mansun’s debut long player, ‘Attack of the Grey Lantern’ and, ahead of K Scope preparing to release it in a remastered and expanded (and 5.1, oh be still my beating heart) deluxe set, Mr Draper set off on a UK tour performing two sets.
The first made up entirely of solo ‘Spooky Action’ material, and the second being ‘Attack…’, performed in its entirety for the first time ever.
Now, I know the gig was back in February, and we are now into April, but in my defence I have moved to a new house and so when I looked on the calendar and arranged a date to complete (and be out of the flat complete with all our wordlies boxed up and ready for the removal van) I had agreed Feb 22nd.
So, a gig I’ve been waiting to see since ‘Attack…’ first hit my stereo back at the fag end of Britpop over 20 years ago (and it’s astonishing how many influential albums that I consider contemporary are getting the 20th and beyond anniversary, ‘OK Computer’, ‘Urban Hymns’, ‘His and Hers’, ‘Be Here Now’, ‘Boys for Pele’, this was, amongst many others, the sound of my adolescence and dear reader it makes me feel old) and yet I needed to have every boxed up and ready to go without any stress.
So I did what any sensible human would do, and go the gig, but drive – best of both worlds and in hindsight the right move, as it took me back 20 years and the stress of the moment was relieved.
If anyone here doesn’t believe in the healing power of music, then my friends you’re missing out.
Now the gig had been moved from the Bierkeller which shut down in conflicting circumstances at the start of February, luckily SWX round the corner is a nicer and more modern version, with an excellent sound system, and from where we were we had an excellent view of the stage, so as an aside, if you see anyone promoted here and wonder if it’s worth going, it’s a Yes from me (& it’s very close to town and about 20 minutes’ walk from Temple Meads – see, who needs trip advisor?)
Unfortunately, I didn’t catch the name of the support act, who was a local lad with a guitar and a penchant for checked shirts and listening to Nick Drake and Bob Dylan, it was pleasant enough and I’m sure his Mum enjoyed it, but it didn’t set the world alight, and his acoustic guitar sound was lost at points in the venue.
Then came the part we were waiting for, Mansun always exuded an aura of mystery and a certain disconnect that set about as far away from the Britpop scene that they were lumped in with, like a square peg in a round hole, and it was great to see Paul Draper, slightly older, bearded and full of chat between songs and with plenty of stage presence.
Even better, he still has the power in his voice, and an incredibly tight and talented young band around him, with Ben Sink on guitar doing a lot of the heavy lifting, allowing Draper to focus on the singing and being the frontman, he has always been.
I know the audience were there for ‘Attack…‘ but the ‘Spooky Action’ material really holds its own with the gig opening as the album does with the superb Don’t Poke the Bear, and songs like Grey House, Jealousy is a Powerful Emotion, Friends Make the Worst Enemies and Who’s Wearing the Trousers all went down a storm.
Then, after a brief interval, the band came back on stage with a nod from Paul thanking his ‘support act’ and then, the rousing strings of the best James Bond theme there never was The Chad Who Loved Me came ringing out, and the auditorium was lost in a magical musical time warp, as the classics like Wide Open Space, Stripper Vicar, the legendary Taxloss,Dark Mavis and the rest all came out in a blaze of glory.
Don’t get me wrong, this is no nostalgia act, as the first half proved, and as a band who were always slightly out of time, Mansun’s tunes have proved timeless, as this album still sounds fresh, exciting and contemporary even 21 years later.
I went into this show not knowing whether it would be worth my money (&yes dear reader – this is one of those rare occurrences where I review something I paid for!) and it was worth every penny.
During the gig Paul Draper said he would back soon, performing ‘Six’ in it’s entirety – take all of my money, now!!!
Welcome to the fourth edition of The Wallet Emptier’s Round-Up and this time we have music from The C:Live Collective, Project Patchwork, Syzygy, Phi, Marygold and Pinski for you to check out…
The C:Live Collective – The Age of Insanity
Twelfth Night alumni Clive Mitten’s first foray into recording new music for 30 years has produced ‘The Age of Insanity’, the first of a series of linked releases from the band in 2018. At its heart is Clive’s new hour long four-part opus, The Fifth Estate, which will reappear in the autumn in its full vocal version. Here it comprises a fully revised vocal version of We Are Sane (Part One)and specially arranged instrumental mixes of Parts Two to Four. The CD is completed by a new version of This City set in London.
A powerful vilification of the internet and social media (The Fifth Estate), Clive has collected some impressive musicians around him and that can be seen in the well crafted tracks on the album. Mark Spencer’s expressive vocals add to the atmospheric appeal of the first song, there’s definitely a feeling of Big Brother is watching you running through this track, almost a feeling of dystopia.
The instrumentals are finely constructed, haunting pieces of music where the musician’s requisite skills are used to very good effect, all the while Clive orchestrating every move. I was very impressed at how the whole album seemed to flow perfectly with each track seguing smoothly into the next. The final song This City Is London closes things out with an almost patriotic feel, its drum and bass origins actually working well with the rest of the album.
All in all, it all bodes well for what is to come next.
Rating – 77/100
Released 1st March 2018
Favourite Track – The very impressive The Fifth Estate Part One.
Project: Patchwork,The studio project of German musicians Gerd Albers and Peter Koll, release their second album ‘ReFlection’ three years after the debut. Dealing with personal experiences and addressing critical questions of currents events in society and politics, it is powerful statement of intent.
A total of 10 singers and 20 musicians share duties on this impressive release but at no time does it feel disjointed or over-ambitious. With artists of the calibre of Marek Arnold, John Mitchell, Markus Steffen and Martin Schnella it was always going to have a good pedigree.
Powerful guitars and yet a strong emphasis on melodies mean this release is chock full of hook lines and impressive, emotive music with new surprises at every turn. This is a fine release that immerses you on an extraordinary musical journey.
Rating – 80/100
Released 16th March 2018
Favourite Track – The inventive brilliance of Yearning For Confraternity.
In astronomy, a syzygy is a (usually) straight-line configuration of three or more celestial bodies in a gravitational system.
In music SYZYGY is a progressive rock trio from Gainesville, Florida, consisting of guitarist/vocalist Tom Nelly, bassist KD McClellan, and drummer Dan Landis. ‘Misconnected Man’ is their debut release and is full of complex and yet memorable compositions that are madder than a badger poked with a stick but in a very, very good way!
Listening to the album is akin to a musical rollercoaster ride of massive proportions, there literally is no let-up to the rapid fire musical delivery, it isn’t for the faint hearted but, dig in and persevere for what you do get is well worth the effort.
They call it progressive rock but it’s more acid jazz infused art rock with some King Crimson thrown in for good measure, just because they could! Get your wallets ready and lay out for one of the most original and inventive releases you’ll hear in quite a while.
Rating – 77/100
Released 31st October 2018
Favourite Track – The unabridged lunacy of Misconnected Man.
‘Cycles’ is Austrian Prog-Metal outfit PHI’s latest release and sees the band finally attain what they call The Golden Ratio, the perfect proportion between rock power and artistic aspiration and it was an accident, cutting his finger in his role as an amateur chef, that led him in the new direction that finally produced this golden ratio.
A songwriting process straight from head to paper, no filters as main man Markus Bratusa couldn’t play his guitar, has delivered six involving and powerful compositions with maturity and gravitas. Songs that are emotionally bold and honest and yet mightily potent, the guitar sound is as heavy a one as you will hear this side of early Sabbath, the new album has everything.
‘Cycles’ displays a grandiose vision and one that this impressive band carry off with style and aplomb and all on an epic bombastic and flamboyant scale.
Rating – 79/100
Released 23rd March 2018.
Favourite Track – The utter bombast of Blackened Rivers.
Immaculately constructed classic progressive rock, ‘One Light Year’ is Italian band Marygold at their absolute best. Formed in Verona in 1994, this collection of virtuoso performers had not released anything since 2005 but had opened the well respected Verona Progfest in 2007.
A collection of songs to bewitch and beguile lovers of classic and more modern progressive styles, it has that eccentricity that Italian prog music is known for and is an exciting and immersive listen. Excellent melodies and intricate song structures combine across all seven of the inventive tracks.
Let the intricate guitar plying, the expansive rhythm section and the eloquent vocals take you on an enjoyable musical journey, one with a definite Italian flavour and one that is all the better for it.
Cologne based outfit Pinski’s debut album is an intriguing proposition. On the face of it, it appears to be a straightforward hard rock album with some pretty impressive riffing and the power of Insa Reichwein’s (aka. Pinski) soulful vocals but, dig deeper and you will find a record full of complex compositions with intelligent and thoughtful lyrics. Take the reproachful anger of Society and follow it up with the hopeful tone of Light Calling and you will begin to see Insa’s view of the world.
However there’s no getting away from the thunderous guitar work of Ian Alexander Griffiths who adds a real metal/hard rock edge to the songs. The rhythm section of Christopher Streidt (bass) and Stephan Schöpe (drums) lays a really vibrant foundation for Insa’s dynamic voice and distorted acoustic riffs, she really gives her all through every song.
A real discovery for me, ‘Sound The Alarm’ is a collection of tracks that will have you on the edge of your seat from start to finish.
Rating – 81/100
Released 29th April 2018.
Favourite Track – The sonic boom of title track Sound The Alarm.
Order the CD direct from the band at the link below:
Welcome to another edition of Progradar Recommends and this time I’ll talk about new releases from Tangekanic, That Joe Payne, Toundra and Flicker Rate…
Tangekanic – Hotel Cantaffordit
I didn’t know what to expect when I went to the Summers End Festival in Chepstow last October with the Prog Guru™ himself, Mr David Elliott. It was a blast, a real home grown, family friendly festival with superb acts and a brilliant atmosphere. One of the highlights was the set from Tangekanic, a touring unit that plays the music of both The Tangent and Karmakanic and features members of both, working together in one collaborative set.
Well the guys took the show to the USA and, luckily for us, decided to record at the New Jersey Proghouse and release it as a live album – ‘Hotel Cantaffordit’. What a stunning release it is, Jonas Reingold – Bass Guitar, Andy Tillison – Keyboards & Vocals, Göran Edman – Vocals, Luke Machin – Guitar and Steve Roberts – Drums deliver a rip-roaring set full of good natured humour and enough energy and vibrancy to power a small village in deepest Yorkshire!
Opening with an incendiary version of The Tangent’s Spark In The Aether and then a spirited interpretation of the instrumental Dr Livingstone (I Presume?)from the band’s latest long player ‘The Slow Rust of Forgotten Machinery’, this hybrid band play as if they’ve been together for many a year.
There’s a real camaraderie between them and a fun feeling to their energetic and lively set, the dry asides from Jonas are a particular highlight as is the wonderful version of the Swedish band’s God, The Universe And Everything Else Nobody Cares About, the closing track, Steer By The Stars with a hugely entertaining performance of the uplifting Send a Message From the Heart segued on closes the album in style.
‘Hotel Cantaffordit’ also includes the emotive Sanctuary In Music and Two Rope Swings.
I’ve met Joe a few times and he is a lovely and personable young man so it was with some concern that I heard he had left his role as front man for the legendary prog unit The Enid in September 2016. He was open about his issues with anxiety and depression and thankfully, like the proverbial Phoenix, Joe has risen from the flames and reinvented himself as a solo artist with this first single release, I Need A Change.
The music, written and arranged entirely by Joe, was brought to life in the studio with the help of three other recently retired Enid members; Max Read (singer and producer), Nic Willes (drums and bass) and Duncan McLaughlan (guitar).
I’m sure Joe would be happy with my description of him and his music as being very dramatic and he is almost operatic in his vocal delivery, the lush harmonies that abound throughout the track are a beautiful highlight. I Need A Change is a musical triumph and sees this remarkable front man back where he belongs. There is real melodrama to the powerful music and there is no doubting the breathtaking emotional performance that Joe delivers on his first solo outing.
If this were a vinyl single we would call Moonlit Love the ‘B’ side and it is another superbly theatrical piece of music that shows off Joe’s talents to perfection. If you buy the single you get another five different versions of I Need A Change including piano, strings and choir arrangements which certainly give excellent value for money.
I am really excited to see what this outstanding performer comes up with next!
I was very impressed by Spanish instrumental band Toundra’s last release ‘IV’ so it was with heightened anticipation that I awaited the promo of their new album ‘Vortex’, the enigmatic cover certainly helped too!
Their sound blends powerful riffs, beautiful deep melodies and intricate atmospheres, all wrapped up in elongated electric songs that emphasized their dangerous flammable live potential. ‘Vortex’ tales that as a base and then builds on it with repeated layers of powerful and in your face instrumental rock.
Monstrous riffs abound, just check out Cobra to see what I’m getting at, and the rhythm section seems like it was hewn out of solid granite. If you like your music in-your-face, direct, dynamic and, well, bloody loud then you have come to the right place. Touareg is an eight minute monster (as well as a Volkswagen 4×4), the eleven minute brilliance of Mojave does show that band can craft an excellent tune as well and is worth the entry price alone.
I have always been a big fan of instrumental rock (see the Flicker Rate review that follows this) and Toundra have just elevated themselves to the top of my recommendations with “the most straight-forward, heart-stopping, earth-shaking album of the year.”
I know the exact moment when Spencer Bassett stepped out of the shadow of his illustrious father John and became a bona-fide artist in his own right. It was when I stopped considering him to be the son of John Bassett and took the merits of Spencer’s instrumental musical project Flicker Rate on their own standing.
Unlike the monstrous riffage of Toundra ‘Skylight’ has a much lighter vibe, wistful and with a easygoing vibe. The title track has an almost world music feel to it and Cloud Drop and Shimmer take that and add a lazy jazz influence to give it real sophistication and maturity.
Final track Grow has a post-rock vibe at its core and adds even more of an easy going feel to this delightful EP. With his third release and its contemplative and emotive atmosphere, Spencer has proven himself to be a songwriter and musician of some repute and not a little skill, it’s a bout time we got a full-length album from him (are you listening Spencer?).
