Review – The Vicious Head Society – Abject Tomorrow – by Progradar

I remember 1992 (yes I am that old!) and seminal Progressive Metallers Dream Theater releasing their incredible second album ‘Images and Words’. It was something of a groundbreaking release with the incredible musicianship and songwriting making a huge impact on my life.

I followed the band for many years with superb release after superb release, ‘Awake’, ‘Falling Into Infinity’ and the marvellous, innovative brilliance of ‘Metropolis Pt2 – Scenes From a Memory’. I first saw them live on the ‘Train of Thought’ tour in 2003 and was blown away by the majesty of their show. The last great album they released, in my opinion, was 2005’s ‘Octavarium’ and, sadly for a big fan like me, they seemed to peak then, both on record and as a live event.

I’ve been waiting for a long time for an album of pure progressive metal to come along and blow me away like ‘Images and Words’ did in 1992, one with some great songs and wonderful instrumentation, I like an extended guitar solo as much as the next man!

There have been some near misses but none have really come close. Funnily enough, it was one of my old fellow Dream Theater fans, Laura McCoy who put me on to Graham Keane and The Vicious Head Society, sharing a video of a track from the debut album ‘Abject Tomorrow’ and it piqued my interest more than enough to want to hear the whole thing.

Why? because the first thing that came into my head was, it’s like Dream Theater but the old Dream Theater when they were my favourite band in the world and that’s just got to be good…

The Vicious Head Society is the brainchild of Irish guitar virtuoso Graham Keane.

Debut album ‘Abject Tomorrow’ initially started as a pet project around 2010 after returning to the Emerald Isle from music school in the UK. Keane was tutoring aspiring musicians when he decided to start writing original material purely as a self gratifying project. He figured that living in a remote area of Ireland with not many musicians interested in his style of music, metal, hard rock and prog, he would be best to forge ahead alone. As with many creative types Keane had a very laid back attitude about the whole thing and on many occasions just sat there noodling on his guitar while life passed him by. It wasn’t until his wives cancer diagnosis in 2013 that he started to take things a bit more seriously. The shock of realising his own mortality threw Keane into action.

Writing and recording became an asylum, from the emotional turmoil and with nothing to lose, the project began to grow in scope. Virtual instruments wouldn’t cut it anymore, as had been the norm to that point, and so Keane began to contact musicians worldwide to help bring it to life. Of course this brought with it several new challenges, not to mention the financial burden, the main reason it has taken this long to complete!

The vast majority of the album was recorded in Keane’s home studio with vocals, drums and other guest musicians being outsourced to their own recording facilities. Guests including Wilmer Waarbroek, Derek Sherinan, Nahuel Ramos, Pat Byrne, Klemen Markelj, Kevin Talley and Nathan Pickering. “It was a somewhat challenging process,” Keane comments. “Financing being one of the major difficulties. There were times when it seemed like releasing the album would be impossible but I’m delighted to have overcome these obstacles and with the help of some really amazingly talented people, it is now complete!”

As with most progressive records ‘Abject Tomorrow’ is no different in the sense that it is a concept album. The story is based in a dystopian future in which all humans are required to have emotion inhibiting implants implanted from birth. One man’s implant fails and it chronicles his journey of discovery and reconnection with his humanity. Musically, it draws from a huge range of influences; from classic prog acts that influenced Keane growing up, such as Yes, Genesis, ELP and Rush to metal acts such as Death, Meshuggah and Megadeth. Keane adds, “I hope it finds some kind of audience and that people enjoy it. For me, it’s a very emotive album. Even though it’s a concept album on the surface, there’s a lot of personal experience in it and there’s sure to be some people out there who can connect with it on an emotional level.”

An urgent keyboard note introduces you to The Sycophants before some powerful and edgy riffing, joined by dynamic drums takes over. A monstrous riff erupts from the depths of the earth to pound you with its ferocity and then the vocals kick in, hard-edged and forceful. This is no frills prog-metal, you get what you see and it is all the better for it. Throw in some brilliant guitar runs and the odd solo that burns like a solar flare and you couldn’t really ask for much more, actually you don’t need to because Graham gives it to you anyway. Well thought out songwriting and his emotive vocal give real class to the song, add in an cleverly intricate instrumental section (dare I say it, emulating Dream Theater themselves), a thunderous close-out and you’re left admiring a really good opening to the album. So, now onto the title track, Abject Tomorrow begins with a really skittish, staccato riff that has a feel of unease to it, the progressive drums pounding along in union. A coruscating guitar fires up into the heavens before things calm down, an uneasy silence broken by some rather dark and hushed vocals. I’m on the edge of my seat with anticipation before the powerful chorus erupts from the quietude, an emotional depth emanating from Graham’s vocals. The guitar note almost seems to be speaking to you when the darkness returns tenfold with some harsh vocals giving a proper demonic tone and an ominous counterpoint to the grim hope that the haunting chorus seems to give. Cue extended guitar solo and a bloody good one at that. This song really does seem to be clash between darkness and light and you find yourself caught up in the tumultuous conflict, like a musical version of Lord of the Rings, fantastical and nightmarish. A conflict that seems to span the ages, neverending and the stylish close to the track seems to echo that in eternity.

Downfall has a subdued opening, all swirling, sci-fi keyboards before the tension starts to build. Graham’s heartfelt vocal takes centre stage, a stirring delivery backed by some stylish bass playing and it gives real heart and soul to the song. A harsh vocal delivered over some elegant keyboards really gives an out of this world aura to the song. The juxtaposition between the earnest, fervent clean vocals and the alien feel of the harsh voice really works, one complementing another. As the song comes to a close a granite-like riff gives an elemental quality and the vocals soar into the distance almost like an out of body experience, a compelling and passionate track that really touches your emotions. I have to admit that I’ve been impressed so far and the next track just adds to that in spades, Agenda opens with yet another impressive and uber-heavy riff, one that could shatter mountains I’m sure! But it’s not all about the intensity, there’s intelligence right at the heart of this music too (got to say I love the riffs though!), the songwriting and musical ability is excellent and every note is there for a reason, even if it does strip paint at forty yards. The dynamism of the music and the addictive chorus work together perfectly to add lustre and vitality to the compelling songs. I am not a lover of the harsh, cookie monster vocal delivery but it really works on this album, Graham seems to have got the balance perfectly right. As for the guitar playing, well it is one of the most influential aspects of the album and what lifts it above the merely good and gives an almost cinematic scope to every track. As you get towards the end of the song it goes all intricately progressive on you before a calmness envelops all and then we are treated to a crescendo of an ending, a stirring  and affectional guitar fading out to the close.

A hushed voice and keyboards open The 11th Hour, a feeling of treading water as if you’re waiting for something to happen. Falsetto vocals arrive along with another epic riff from the bowels of the Earth, everything has an anthemic feel to it, music for the ages, from the ages. There’s an uplifting delivery to the vocals yet one that has a pleading undertone, more mixing of the harsh with the clean, once again to good effect and then a more jazzy instrumental section where the bass takes on a funky tone and the guitars a more stripped back feel. A real melting pot of musical styles that deliver a vigorously immersive listening experience, Devin Townsend meets Queen in some strange parallel Universe and they join up with Faith No More and Metallica for a jam session. It’s hypnotically brilliant and quite mesmerising. Psychedelic Torture Trip is just under four minutes of fast paced, elaborate instrumental showboating and it’s thoroughly enjoyable. If you can play instruments as well as this then why shouldn’t you have a bit of fun while doing it? It brings back memories of tracks like Erotomania by Dream Theater and the like. Just sit back, press play and enjoy the virtuoso music laid before you.

Granite like riffs that feel as old as the earth and weight more than the planet we live on? check, that’s what you get at the start of God Of The New Age and it’s almost as if they are being played by celestial beings. This is a riotously compelling song where the heaviness of the music doesn’t detract, it is absolutely necessary and gives emphasis to the vibrant keyboards, energetic drums and Graham’s charismatic vocals. The thunderous guitars and crushing drums that close out the song along with some rather stylish keyboards are utterly compelling, just turn up the volume and enjoy this utter prog-metal fest! The epic nineteen minute album closer Analogue Spectre is a nod to the great progressive metal acts of the past, Graham channels his inner Symphony X, Dream Theater and Fates Warning and yet gives everything his own twist to make it uniquely The Vicious Head Society. A slow burning opening builds up the tension before a heartfelt guitar fires out of the gloom and the shackles are off, a more subtle riff and then Graham’s hushed vocal give an almost symphonic metal feel, this is rapidly blown away by the increasing intensity of the riffing and drums and the vocals taking on a more urgent tone. This is music that grabs your attention with its ebb and flow between the restrained and controlled and the potent and persuasive and it’s a fascinating counterpoint. You’ll get blind-sided by some utterly spellbinding and complex instrumental progressive sections that seem to find their way out of more blind alleys than is really possible. Note perfect and yet ferociously perplexing and convoluted, it’s all you can do to keep up. Follow this up with some laid back, chilled, calm and collected parts and you are being treated to a whole gamut of musical emotions that your mind is manically processing to try and keep up with. The uplifting, almost symphonic metal vocal that follows is utter class and gives a real gloss to the track. This song is like a tapestry that displays the whole range of musical emotions (including salsa, yes… salsa…) that Graham is capable of and leaves me speechless in appreciation.

It is 25 years since ‘Images and Words’ first graced us with its presence and we have been given a plethora of Progressive Metal albums since, some very good but most not so. I don’t think I’m speaking out of turn when I say that ‘Abject Tomorrow’ is one of the best I’ve heard in that quarter of a century and deserves to be named in the same breath as ‘I&W’, it really is that good. A prog-metal masterpiece for the 21st Century, Graham Keane and The Vicious Head Society have only just begun their journey to the top of the genre but are already well on the way there.

Released 24th March 2017

Buy ‘Abject Tomorrow’ on CD from the band.

 

 

Review – Valerian Swing – Nights – by Kevin Thompson

A shift of late has seen many bands classed under ‘heavy’ and ‘post/math rock’, expand their horizons and feel the need to spread their musical wings of experimentation. I have mentioned in previous reviews how easy it is to get lost in the masses and the difficulty facing up and coming bands in finding their unique selling point. The sound that will see them cut through the dense undergrowth of bands to the road leading in the direction of success.

One such band are Valerian Swing.

Emerging from the historic town of Corregio in the valley of Po, Italy, this intriguing trio first set out on their quest in 2011. Describing themselves as ”Three Italian lunatics playing mathy, violent, anthemic, and largely-instrumental songs”, does not really cover the full scale of their work and may discourage some. But if you like music that keeps trying to find new ways to express itself then you may want to give this a listen, as isn’t that what Progressive music is all about?

With the departure of bass guitarist Alan Ferioli the band currently line up as:

Stefano Villani: guitars, electronics, vocals, David Ferretti: drums and Francesco Giovanetti: baritone guitar, synths.

The introduction of Francesco to the fold has enabled them to expand and explore other musical areas and add to their previous sound.

At the dawning of first track ‘A Leaf’, it’s clear the band are willing to experiment as the clicking of a percussive ‘cricket’ beats his sticks together and synthesised insects buzz around the speakers building to a pounding drum beat and catchy guitars. Everything floats on a creative breeze building to a cacophony of sound, which tugs at the last leaf on the tree. Buffeting and pulling at the single stalk from which it hangs, the curled cuticle, pigmented colour draining from green to copper brown dangles perilously for most of the day, until a gust of guitars snatches it away and across the sky.

Rising on thermals of digital key-work, the leaf is carried from the noises of the wood behind it swooping and swerving. Dipping and looping over countryside on through the night, it is driven by the instrumentation across the land and above the sea, where the wind suddenly tails off briefly as daylight rises. The leaf floats down to the deck of one of ‘Two Ships’ the large sails tacking to find the rising wind. The sails on the one carrying the band catch, billowing out and straining at their ropes tied fast to the masts, as both clippers race toward the coast like white ghosts on horsetails spray, crossing the finish line to distorted cheers from the crowd  lining the bay.

Cruising into dock the band leave the crew to moor up the winning vessel and disembark with their gear to the adulation of Stefano’s processed vocals and raise the trophy. ‘Three Keys’ are presented to them and it’s time to relax overnight, before mounting three of ‘Four Horses’ in the early hours (the fourth carrying their supplies) and riding from the port across the tracks stretched out before them. The keyboards set the rhythm with the thrum of Stefano and Francesco’s guitars on which they ride, the pounding drums from David raising dust beneath the hooves.

In a couple of days they reach a city with ‘Five Walls’ as dusk beckons. Riding through it’s gates they are blanketed by the cosmopolitan sounds of digitised voices going about their daily business in the crowded city streets. Arriving at a compound in the western corner of the city they dismount, open three stables with the keys they received and unsaddle the horses. They take rest and sustenance in preparation for the next passage, whilst in the cool of the evening, festivities bring relief to the citizens, from the drudgery and heat of the day.

At dawn the band leave the city, walking, the ascending sun caressing their necks as ‘Six Feet’ set a fast tempo. Time is pressing and the musical terrain needs to be fully covered, they cannot afford to stumble or trip over frets.

The guitars scream to a halt as they look upward in a haze of feedback at the ‘Seven Cliffs’ before them. Care is needed as gentle notes and syncopated drum patterns mark the uneven ascent, one wrong or dropped note could cause disaster. But sure-footed they move with confidence then gain pace, with the elated guitars, drums and keys gaining footholds to reach the summit, collapsing on a dying line of feedback.

Exhausted but exhilarated the band rest, gaze out at the sounds of a new day being born. Food is produced from backpacks and fine beer to wash it down as they regale each other with tales of the journey. A bloated blood red sun ventures from the horizon, bathing everything in hues of pink and red. They watch as vermilion ripples across the sea, ribbon towards the base of the cliffs and they are satisfied.

It has taken ‘Eight Dawns’ to reach the conclusion of this varied album, full of passion, riffs and sublime technique. Cinematic, energetically varied even flirting on the edges of pop with their experimentation, in ‘Nights’, Valerian Swing have created their most accessible album to date and paved the way to what could be a bright future.

All three of these gentlemen are excellent musicians and work seamlessly together. It is not my way to normally favour anyone but on this occasion, I feel I must praise the power house on drums that is David Ferretti and state quite simply that he is ‘formidabile’.

Released 12th May 2017

http://smallpondrec.co.uk/product/valerian-swing-nights/

 

 

Bent Knee Releases Live Video for “Holy Ghost” – Headlining Tour Begins June 1 in Brooklyn, NY

‘Land Animal’ Available June 23 via InsideOutMusic/Sony.

“It’s very rare that an artist or band comes along that changes your perspective on music and art…Bent Knee have done just that.” – Substream
“Mind boggling… the grandest and subtlest ideas are on the table” -NPR
“The silo-smashing Bent Knee’s unique mix is equal parts ingenuity and deliciousness” – The Wall Street Journal
“Bent Knee breaks new stylistic and temperamental ground” – The Boston Globe

Genre-bending art-rock band Bent Knee have revealed a gripping live video for their single “Holy Ghost”. The track is the second to be released from their forthcoming album, Land Animal, out June 23rd via InsideOutMusic/Sony. The collection combines myriad influences from across the rock, pop, minimalist, and avant-garde spectrums into a seamless, thrilling whole.

You can watch the video here:

Following a North American tour supporting Thank You Scientist, Bent Knee will embark on a select run of tour dates in June, beginning in Brooklyn, NY and making stops in Washington DC, Philadelphia, Chicago and more.
Bent Knee Tour Dates:
^with Great Caesar
6/3          New Haven, CT @ Café Nine^
6/5          Boston, MA @ Great Scott
6/6          Philadelphia, PA @ Kung-Fu Necktie
6/7          Pittsburgh, PA @ The Fun House/Mr. Smalls
6/8          Washington, DC @ Black Cat
6/9          Milwaukee, WI @ Shank Hall
6/11       Cleveland, OH @ Beachland Tavern
6/12       Chicago, IL @ Schubas

 

 

Vinyl Review – Tess Of The Circle – Amplify – Anniversary Edition – by Progradar

“Any obsession is dangerous…” Christina Ricci

And she’s not wrong Miss Ricci, 2017 has become a year of two all encompassing obsessions for me and, unfortunately for you, if you follow me on social media you will know all about them!

The first one was running. Even though I have been a frequent visitor to the gym for the past two decades, I could never get along with running. This all changed in January when I was persuaded to try road running and I haven’t looked back yet. Despite the occasional injuries I now run approximately 40 kilometres a week and this has been dangerous for my body.

The second one was my re-introduction to collecting vinyl and I can lay the blame for that squarely at the feet of Chris Topham, vinyl expert and sometime Virgin Airlines Captain. From the day he asked me if I would be interested in reviewing some vinyl releases on his Plane Groovy label I have been hooked and this has been extremely dangerous for my bank balance!

The latest release to get the Plane Groovy vinyl treatment and for me to review is the 2017 anniversary vinyl edition of ‘Amplify’, British rock sensations Tess Of The Circle’s 2016 release.

Tess Of The Cirlce is a British independent band that focuses on the songs of male songwriter Tess Jones and a collective of participating musicians. With a new line up for 2015/16, ‘Amplify’ was released on 22nd April 2016, giving shades of 70’s rock fused with hints of post-grunge and alt indie.

This was a follow up to 2013’s acoustic rock E.P. ‘Thorns’ and Tess was joined on the new release by returning lead guitarist Lee Clifton and new members Ben Drummond (bass), Paul Stone (drums) and Ange Loyd (backing vocals).

“We are thrilled to bring this record to vinyl after so many requests for it at gigs and festivals”, Jones says, “I hope the release satisfies existing fans as well as being a perfect opportunity to introduce us to music fans who may have missed out on us the first time around!”.

Once again, the quality of the package is incredible, the vinyl release is initially limited to 300 copies which are all individually numbered and signed by Tess Jones. The unique artwork for the album cover and reverse is both simple and yet striking and the 180g heavyweight vinyl itself comes in a plain white slipcase with accompanying numbered and signed lyric and credit sheet. It all adds up to yet another impressive vinyl release from Chris and what we have come to expect from Plane Groovy.

So to the music and that frisson of excitement I now get everytime I lift the needle for the first play of a new vinyl. I’m certainly not disappointed by the opening track Love Is The Drug You Crave, a solid punch in the solar plexus from the the guitar, bass and drums, man the sound quality on this vinyl is crystal clear and very powerful and it works perfectly with the hard rock vibe of this song. Tess’ vocal has that requisite smoky roughness to it that you’d want and expect and Ange’s backing vocals added in with the funky guitar sound give a Primal Scream touch to proceedings. Add in the dynamic rhythm section and, all in all, it’s a brilliantly raucous and rollicking opening to the record. The vinyl is mastered from the original 24 bit files and you can tell, you still get that warmth that is a signature of vinyl music but there is a clarity and purity that come through when plying it as well and it is very apparent on the psychedelia tinged brilliance of I’m Not Ashamed which opens almost like Pictures Of Matchstick Men by Quo before a delightfully groovy guitar tone takes up the reins and a Twin Peaks aura settles over everything. Tess delivers a really impressive vocal performance, the Britishness of his enunciation and the stylish backing vocals add quirkiness to the leftfield supernatural overtones I get from the song. Lee’s guitar playing is exemplary and right off the top shelf and gives real drive, I’m enjoying this album more and more with each song. I don’t know about the rest of you but, when I’m listening to an mp3 or, to a lesser extent, a CD, I’m usually listening to the music as an accompaniment to another task yet, when I get the vinyls out, it is an all engrossing listening experience usually enhanced by a glass of something alcoholic. As the opening bars of You Take Me Out Of My Head begin I’m actually mesmerised by the record spinning on the deck but the thumping riff and pounding drums soon bring me back to the world of the living. This track really puts the HARD in Hard Rock with it’s incessantly scintillating guitar riff and that rhythm section that never puts a foot wrong, wow it really ROCKS like early 70’s Led Zep on uppers! Tess gives a vocal jackhammer of a performance which is enhanced by the little snippets from Ange,

“It’s not enough, it’s not enough…”

A thunderous celebration of all that’s British about hard rock, it is an absolute monster of a song and I get the feeling that the band are having an absolute blast of a time playing it. It never lets up with its intensity and dynamic confidence, a powerful statement of intent for sure.

A calmness pervades with the gentle guitar opening to Believe (Into Her Arms), a much more pared back track, you can feel the honesty in Tess’ impassioned vocal as the needle tracks the grooves on the vinyl, it’s almost painful in its intensity. The assured delivery of Paul’s drums and the stylish bass playing by Ben add real class to this winsome song and it actually gives you chance to get your breath back after the energetic and compelling rock of the first three tracks. There’s hints of indie, Americana and country-rock running all the way through and the guitar playing is just sublime, as things come to a close let the final notes wash over you and enjoy the silence. Edgy, funky and in your face, the dynamism returns with the full on ferocity of Mother, Daughter, Son, an exuberant, devil-may-care thrill ride of jangling guitar riffs, frenetic drums and Tess’ irascible vocal. A song that just won’t let you sit still, it grabs you by the hand and invites you to join the joyous chaos, just under three minutes of unadulterated punk rock infused fun. And that’s the rambunctious and rowdy close to side one. as the needle tracks the final grooves I find a huge grin on my face and that’s what music like this is all about isn’t it?

A quick recharge of the glass and it’s time to flip the record over and listen to side two. Tess himself thinks that Digging At My Bones is the most ‘proggy’ track on the album and as the first notes ring out clearly I can almost see where he is coming from. There’s tension and fervor in the first words that he sings and the guitar has more keenness and emotion and they combine to give intensity and an edge that wasn’t there before. The whole instrumentation has more complexity and yet still retains that hard rock tinge and it’s a very palatable concoction. The bass playing is involved and the drums seem to have a life of their own and everything joins together to give a real meting pot of influences and a great song. Face The Changes is a much more straightforward track that has its roots in the Alt Rock and grunge communities, fans of Screaming Trees will appreciate the elegantly strummed guitar and the stylish vocal delivery from Tess and the backing vocals add another layer of polish to what is already a classy track. The bass and drums provide the foundations on which the whole song can build, turn up the volume and just listen to the nuances that you get from the vinyl as they come through your speakers, yet again this impressive band deliver. And now for something deliciously dark and dirty, the tuned down guitar note that opens Drowning Without You is inspired, Chris Isaaks meets The Doors down a back alley for a guitar slinging duel and the product of that encounter is utterly irresistible. The repeated riff is an utterly addictive earworm and just adds a dark humour to this really funky track. The tense vocals have a hint of menace and the swirling solo adds complete theatre, you can imagine this being played live in a darkened, underground club in the backwaters of America, it really is hauntingly memorable. Sit back with glass of something dark and soak in the atmosphere, you just wouldn’t get that from a digital file.

The guitar tone ventures even more into Mariachi inspired Doors territory on Summer Rain, an earnest, sincere song with a stark feel to it and Tess sings in almost subdued manner, his vocals becoming more heartfelt on the stylish chorus. The keyboards, guitar, drums and bass really do scream The Doors at me and it gives a real cultured timbre to the music. Definitely not the most joyous of tracks but the grave and sorrowful aura works really well delivering a sombre and wistful piece of music that leaves you in a contemplative mood. Hauntingly beautiful and simply ethereal, The Waves Break Us Down relies on the sparse instrumentation of acoustic guitar and delicate, ghostly strings and the stark, earnest quality of Tess’ vocals and it delivers perfectly, leaving me with goose pimples and a tear in my eye. The acoustic guitar, expertly strummed and the honest vocals with an emotional catch in them herald the opening lines of the final track, This Higher Ground and it is a brilliantly pared back and folk infused ballad. The uncomplicated purity of the music comes through perfectly on vinyl, as it was intended to be. I’m a real lover of strings and their unadorned innocence adds another layer of integrity and clarity to this refined and simply wonderful song. As the needle reads the final grooves and the album comes to a close I feel at peace and utterly calm inside, once again music making my world a fantastic place to be in.

To put it simply, ‘Amplify’ is an incredible album, a brilliant fusion of musical styles over a hard rock foundation. Tess Jones looks deep inside himself to deliver songs of heart and soul that are delivered with utmost emotion and incredible skill by this superb band, Tess Of The Circle. All of this is lifted several notches by the vinyl listening experience which brings something almost primal to the party. A compelling release that must become part of any vinyl lovers collection.

Exclusive two week advance release on 29th May 2017 through Burning Shed.

Order from Burning Shed Here

 

 

 

 

 

Review – Big Big Train – Grimspound – by Progradar

“No matter how much time passes, no matter what takes place in the interim, there are some things we can never assign to oblivion, memories we can never rub away.”
― Haruki Murakami, Kafka on the Shore.

Imagine, if you will, a deserted beach and a man in studious concentration, digging up the sand and then, like an artist who works in silica, crafting the most wonderful sandcastle. Like a medieval wonder it rises from the sand into a creation of unparalleled brilliance, a thing of spectacle for all to marvel at.

Fast forward twenty four hours to the same beach where the wondrous castle has disappeared, swallowed up by the unremitting tide, and the sand is pristine, not a single sign of the artist’s incredible work.

The artist may return to take up his labour of love once more but nature will always prevail, no matter what he does, and the sandcastles will always return to their constituent particles.

To me, this is something of an allegory of modern music. New records have such a short time-frame to impress the listener before the next big thing comes along. A lot of these albums will have been labours of love that the musicians have slaved over for months until they are as close to perfect as they can be. What do they do to make their achievements stand out enough for people to want to listen to and buy and to stay long in the memory to still be played in a years time or more?

British progressive rock stalwarts Big Big Train have long been known for their immersive musical productions with songs that tell stories from history and folklore and have been incredibly succesful. They are one of the bands that I turn to often for my musical fix and their pastoral progressive rock has been a big part of my life for the last four or five years.

April 2017 saw the release of their latest studio album ‘Grimspound’. On ‘Grimspound’, Big Big Train tell stories from the oceans and the skies, from the meadowland and the mead hall, tales of scientists and artists and poets and dreamers. Here can be found songs drawn from history and folklore, true-life tales of a flying ace, of Captain Cook’s ‘experimental gentlemen’ on his first voyage of discovery and the legend of a ghost waiting outside an ivy gate whilst the carriers of souls circle overhead.

Now, even though I liked the last year’s ‘Folklore’ (and still do!), I felt that, even though it had immediacy, it lacked the depth and endurance of albums like ‘The Underfall Yard’ and ‘English Electric’ and I don’t go back to it as often as I do the others.

Would ‘Grimspound’ be another engrossing tour-de-force that would take longer to really get into but, because of that, become a much loved classic? Let’s delve into the past and let the amazing story telling of Big Big Train do its magic…

“A statue of a young man
Defiantly stands
Glove held in left hand
With an Angel close by his shoulder…”

“The wonderfully atmospheric tale of Captain Albert Ball, a reluctant flying ace and hero of the Great War, “a young knight of gentle manner who learnt to fly and to kill at a time when all the world was killing … saddened by the great tragedy that had come into the world and made him a terrible instrument of Death”. DL

A haunting introduction paves the way for what is a classic Big Big Train track and really gives me the impression that the band have returned to their roots with this record. The build up is slow and measured before the guitars and drums herald the main part of the song and you are already rapt in attention. Lovely touches of flute and violin draw in David Longdon’s expressive and emotive vocal to tell the tale of this heroic airman. The music has a touch of pomp and circumstance in parts, befitting such a hero but also has gentle and subtle touches that would seem to mirror his compassionate soul. The build up to the chorus is spine-tingling and has you singing along with the words,

“I’ll be a brave captain of the sky.”

There’s a segue into a fast-paced instrumental section that has you on the edge of your seat, these consummate musicians once again showing their skill and class with guitar parts that are intricate and memorable and the mesmerising keyboards playing off against each other. Nick D’Virgilio’s drums and Greg Spawton’s bass are the glue that holds everything in place on this enduringly powerful piece of music before we are brought back down to ground and David’s voice over tells us more about Captain Ball and how he finally came to be shot down, aided perfectly by the stirring strings of Rachel Hall that almost seem to talk to you.

This amazing song closes out with another brilliant instrumental section interspersed by the repeated refrain,

“Brave Captain of the skies..”

Heart-wrenching guitars and that vibrant rhythm section hold your attention right to the suitably impressive end. Wow, what a start to the album!

“On The Racing Line, this instrumental is a further piece about John Cobb, the racing driver, who was the subject of our song Brooklands on the ‘Folklore’ album.” GS

An immediate and expressive instrumental that seems to convey the impression of speed and racing from the first note. Just let the music wash over you and be transported back in history to a time of gentlemen racers who would drive their cars to the track before risking life and limb careering round at high speed. The drums, keyboard and piano seem to be the motive force of this song, the descriptive strings and compelling guitar painting the pictures in your mind, it is all really inventive and quite majestic in delivery. Not just a piece of music but one that recreates history right in the depths of your mind.

“Farewell, my friends,
taking leave of England
headed due south;
experimental gentlemen.”

In 1768, Captain Cook’s ship, HMS Endeavour, set sail from Plymouth. The voyage had been financed by the Royal Society and the Royal Navy and had a number of aims, including the observation of the 1769 Transit of Venus.

Along the way, the botanists aboard the ship were tasked with collecting specimens from all locations visited in the southern hemisphere. Cook called the scientists on the Endeavour, who included the astronomer Charles Green and the botanist Joseph Banks, his ‘experimental gentlemen’. GS

Experimental Gentlemen was the track that, upon first listen, made me realise that the band were reverting back to their older sound. The introduction is gentle and pastoral and lifts the soul, leaving you in some kind of reverie, flute and piano meandering around your mind before Nick’s drums direct everything into a more regimented sound. There’s a feel of ‘English Boy Wonders’ to the rhythm and vocals and the brilliantly evocative and descriptive guitar is a beautiful touch. Every time David Longdon sings the title line I find myself joining in  and a smile appearing on my lips, this is Big Big Train at their expressive and illuminating best. Rachel Hall’s violin takes centre stage half way through as a more serious note pervades the song, aided and abetted by some emotive keyboard playing to give a real affectional feel to the song. Her violin follows the motif of the chorus and we are off again on this jaunty journey into the wonder of it all. The climax begins with a brilliant, rising guitar solo that grabs your attention before calm and reflection settles over the track and it segues into a piano led section where Greg’s subtle bass playing joins Nick’s drums as the foundation on which a haunting guitar and ethereal strings raise the hairs on the back of your neck, quite clever and very touching as this superb song comes to a close, leaving you enjoying the silence and solitude.

“Here, with book in hand,
follow the hedgerow
to the meadowland.”

“One of the characters who featured on our ‘English Electric’ albums was David’s Uncle Jack. The Meadowland in this song is an idealised place where people gather together to share their thoughts about the things they love. You may bump into people when you are out and about and spend some time talking with them, creating your own such space. As the song is set in the countryside, I couldn’t resist a final appearance for Uncle Jack, who follows the hedgerows up to the meadowlands, as he did many times in his long life.” GS

A short song as Big Big Train ones go, coming in at under four minutes go, it opens with a wistfully delicate guitar and violin that immediately gets under your skin with its sentiment and warmth. This is an exquisitely graceful track that really plucks at your heartstrings, David’s vocal is heartfelt and just brings nostalgia flooding back. The interplay between the violin and guitar is genius, I don’t mind admitting that I had a tear of joy in my eye as it came to an elegant close.

“What shall be left of us?
Which artefacts will stay intact?
For nothing can last…”

“Grimspound is a slightly older song than the others on the album. In fact, the drums were recorded by Nick at Real World back when we were making ‘Stone & Steel.’ Big Big Train music contains many historical and archaeological references, and this song is no different in that respect, because it is the name of a Bronze Age settlement on Dartmoor in Devon. When I came to write the lyrics for ‘Grimspound’, I decided that it would be a song about the folklore and myth that surround crows. It is specifically about life, from the perspective of Grimspound the crow.” DL

A slow building opening to the song, a gentle breeze blowing around your mind as the calming music settles upon your soul. There’s a touch of ‘Folklore’ to this track, a more folk edge to the music and the vocals and the repeated musical motif which has become a much loved instrumental earworm to me. Grimspound is a song that just epitomises Big Big Train and their wonderful brand of pastoral progressive rock with its unique Britishness that the fans can relate to. The music is catchy and grabs hold of you and won’t let go but in a gentle and jovial manner, it is music for long summer days in the meadows with meandering streams and for making lifelong memories. The delightful run out with the elegantly nomadic guitar line just adds to the class and charm.

“Upon nights this cold
So the story goes
Some folk say they see the ghost
of Thomas Fisher wait
Outside the Ivy Gate..”

“The origins of this dark song began when I was trying to write a piece called Folklore. This was way before we had decided to call our 2016 album by the same name. The Ivy Gate is a song about family and loss, the perils of childbirth, warfare and faith. It is also a supernatural tale concerning damnation. The Ivy Gate is set during a time of war and centres around the life and times of the ill-fated Fisher family. I met Judy Dyble when she attended the Saturday BBT show at Kings Place. We kept in touch and, as The Ivy Gate developed, I thought that it would make an interesting duet.” DL

The idea of The Ivy Gate being a duet between David and Judy Dyble of Fairport Convention fame borders on genius and gives an elegant fusion of traditional folk and the more pastoral, progressive rock tinged, version that Big Big Train produce. The deep and dark, banjo inspired opening gives real atmosphere and depth to the song right from the off. Judy’s voice adds drama and suspense to the song and a mysterious aura envelops the music, added to by the haunting strains of Rachel’s strings. I feel like I’m transported back in time to be in the middle of a supernatural Victorian spectacle and when David joins in it is almost spine tingling and dramatic. There’s a tense, nervous feel to the music, the violin and banjo adding real tension before the song erupts with Greg’s dynamic bass giving real drive and force to proceedings and progressive overtakes folk as the stimulus. Keyboards swirl, drums are pounded and we are back in the 70’s with a proper prog out instrumental section backing David and Judy’s vocal conjoinment, a powerful musical statement from the band.

“With an eye pressed to the spyglass
counting constellations.
On the shores of distant oceans
charting undiscovered lands;
the collectors and observers,
curators and explorers,
reflectors of light.”

“A Mead Hall in Winter began life as a two-minute acoustic guitar and piano instrumental, which was originally intended for the ‘Folklore’ album. Somewhere along the way, Rikard developed his short instrumental into an epic progressive rock piece. Once we had received the initial demo from Rikard and had spent some time getting to grips with the complexities and twists and turns in the song, it was decided that, between the three of us, I would write the vocal melody and backing vocals and Greg would write the words. When I was developing the vocal melodies for A Mead Hall in Winter (which I demoed on the flute), I mentioned to Greg that the song reminded me a little of The Underfall Yard. DL

When David mentioned the connection to The Underfall Yard, I went back to that song and reminded myself of the words. The main theme of the lyrics is the concern that we are losing sight of the Enlightenment values which underlie much of the scientific and social progress that mankind has made in the last few centuries. I thought I would revisit that theme and explore it in greater detail on A Mead Hall in Winter.” GS

A proper ‘prog epic’ at over fifteen minutes, A Mead Hall in Winter is an early favourite of all the Big Big Train fans but, initially, it doesn’t grab me as I’m not a fan of the opening which I feel is a bit messy and almost sounds like an 8 bit Nintendo theme tune from the 80’s. Luckily, after 30 seconds or so, guitar and violin combine to good effect and, as far as I’m concerned, the blue touch paper is lit and we’re off. I love the way that the song seems to drop you slap bang in the middle of the Mead Hall, fire roaring, mead flowing and music playing, it’s really a rather immersive piece of music, one that asks the listener to get involved and become part off. David isn’t just the singer here, he’s a proper troubadour, a minstrel telling stories through the ages and his voice seems to go back in history to echo the early days of the band from ‘The Difference Machine’ and onwards. The captivating and addictive chorus will have you singing along with every word, the harmonised vocals are hauntingly memorable and the little snatches of violin and guitar are the glue that brilliantly hold it all together.

“Artists and dreamers and thinkers are right here by your side…”

Midway through the song we are treated to another entrancing and mesmeric instrumental section that leaves me open mouthed and slack jawed in appreciation. The vocals and instrumentals entwine and combine to deliver an intricate and yet amazingly accessible piece of music that demands to be listened to above all else, stop what you are doing and just concentrate on what is laid before you. The organ section that follows just leaves me transfixed as Rachel’s violin swoops in like Grimspound of the title and dances before your very eyes. Fifteen minutes of sonic delight come to a close with the beguiling vocals and enthralling music resounding in your ears, incredible stuff.

“All here is good,
still and quiet.”

“Sarah’s concept for the cover artwork of the ‘Grimspound’ album has always been that of a crow in flight. Amongst all of the pieces that we have written over the last few years about people and landscape and folk tales we have always featured some songs (or observations within songs) which are more personal in nature. This includes As the Crow Flies. One of the most profound experiences is caring for other people, whether that be for children or aged relatives or others who need support. As the Crow Flies is about the succession of moments of letting go as children prepare to take flight on their own.” GS

As The Crow Flies is perhaps the most personal and melancholy track on the album, when we talk of our children ‘flying the nest’ it is at once both a happy and sad time, it marks a big change in people’s lives and this song has a profound and yet and uncertain timbre to it, echoing perhaps the feelings when we must venture out on our own. The opening to the track has a very sombre tone to it, David’s vocal especially and the music feels like it is treading carefully, almost walking on metaphorical eggshells. The guitar work on this song is as exemplary as ever, almost as if the instrument is talking to you, an accompaniment to David and when Rachel Hall’s delicate voice joins in, it is a thing of ethereal grace and adds hope and longing to lift the feeling of loss that hung over everything. Ultimately our children are our hopes and our futures, we must let them out into the world to become what they are destined to be and to leave their own mark. The sentimental nature of the music and the vocals leaves its mark on my heart and soul and I’m left looking forward to the future, whatever it may bring.

‘Grimspound’ was a hugely anticipated album from one of Progressive Rock’s most revered bands and had to deliver on every front. And it has, many times over, songs like this are what have given Big Big Train the reputation they have today. They are not just music, they are historical tales that take that music and weave it around stories, factual and fictional, to deliver an deeply engaging and riveting spectacle that stays with you forever. This is one sandcastle that no tide will ever wash away…

Band photos by Simon Hogg.

Released 28th April 2017

Buy ‘Grimspound’ on CD from The Merch Desk

Buy ‘Grimspound’ on Vinyl from Burning Shed

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Beatrix Players – Magnified Tour – Hoxton Hall , London, 12th May 2017 – by Rob Fisher

You would never know it was there. The automatic sliding doors give no hint of the majestic secret hidden within. Originally built in 1863, Hoxton Hall is a wonderful example of a good old fashioned saloon-style music hall, the modest central stage fronting a spacious ground floor, with impressive cast iron columns supporting two levels of galleries on all three sides. The overall effect creates a casual, relaxed and intimate atmosphere and the eager audience complete the perfect setting for tonight’s launch of the remarkable debut album ‘Magnified’ from the thrilling Beatrix Players.

The hushed murmur of voices give way to a polite ripple of applause as they take the stage and a happy silence descends as the opening notes of the haunting Rushlight gently fill the room. The insistent call of the piano gradually increases in emphasis and urgency, matched by a vocal harmony which is initially delicate but also grows with a matching power and intensity. The unwavering menace of the cello brings a grounding strength and depth as the song builds to a defiant, majestic crescendo before, passion spent, it falls away to the tranquil calm of the beginning once more.

The effect on the auditorium is spellbinding: not for the first time during the course of the evening, people are utterly enthralled and completely captivated by the graceful energy and compelling spirit of the performance. The confines of the stage enforce a close proximity between the three main musicians, which in turn accentuates and highlights the wonderfully intuitive interplay and understandings which exist between them. There is a dynamic and deeply creative relationship between keyboards, cello and voice which is delicately attuned to the shifting ebbs and flows of the rhythms of each song and which is absorbing to see unfold.

They are joined tonight by Robyn Hemmings on double bass, Jez Houghton on French horn, Maria Kroon on violin and Emanuela Monni on drums and percussion. The subtle alterations to the musical arrangements for some of the songs are breathtaking in the impact they bring. The integration of the French horn and violin in particular are absolutely inspired, creating a more open and expansive soundstage which provides greater emotional resonance and clarity of expression. Never Again and Walk Away possess a biting vitality which is not as readily apparent on the album, but with these additions is an absolute pleasure to experience live.

During the evening we are provided with some unexpected treats in the form of songs from their original EP and a beautifully moving cover of Hurt before an almost apologetic and low key introduction ushers in All That Thinking. A song about female infertility and the impact it has on relationships, the performance tonight is emotionally charged and profoundly moving. The sheer extent of the impact it has on the audience defies description and I know I was certainly not alone in being overcome and shedding a tear by the often unspoken heartbreak it creates.

One further surprise remains in store for us as the raised dias behind the main performers fills with the arrival of the SOUND choir for the final three songs. Their presence and influence is striking and uplifting, bringing new dimensions and insights to songs which, as a result, carry an embracing immediacy and sparkling warmth. The mesmerising Ophelia and the sizzling encore Roses spring to life with an astonishing and breathtaking vibrancy to mark the perfect end to a magnificent evening of stunning music.

A second concert has been announced for St Pancras Old Church on the 5th October 2017. Tickets are available now and I cannot recommend highly enough what a mesmerising, captivating and thoroughly enchanting experience awaits if you decide to go. Do not hesitate.

Setlist
Rushlight

Never Again

Walk Away

Not for the first Time

Hurt (cover)

Molehill

Elsa

High Heel Shoes

All That Thinking

Obey Me

Lady of the Lake

What Do You Say

The Road To Gordes

Ophelia

Roses

Beatrix Players are:
Amanda Alvarez – Cello
Amy Birks – Lead & Backing Vocals
Jess Kennedy – Piano, Flute, Backing Vocals

 

The Fierce And The Dead’s Matt Stevens Talks RoSFest

The legend that is Matt Stevens took time this Sunday morning to talk to me about The Fierce And The Dead’s appearance at the recent RoSFest, North America’s premier progressive rock festival.

Among other things, we talk about the tedious process of getting an artist visa, what it’s like playing in a different country, American prog fans and beer, strong beer!

(Featured image of Matt by Jose Ramon Caamano)

Review – Bjørn Riis – Forever Comes To An End – by Leo Trimming

An Airbag is a device designed to save your life or reduce injury in the event of a collision.

Can music save your life? Who knows?

But life does does bring us in to collisions with all sorts of unexpected events and we try to find ways to survive or at least lessen the impacts. From the sound and themes of Bjørn Riis’ second solo album, ‘Forever Comes to an End’ , it does seem evident that perhaps life has been impacting upon him deeply, reflected in an emotional release. Emotion is not a word usually associated with the sweeping, glacial Floydian soundscapes so beloved of Airbag, but Bjørn Riis has successfully created a more personalised album, infused with fragile feelings and delicate melodies alongside his trademark architectural sonic structures.

Bjørn Riis is the main songwriter and lead guitarist of the Norwegian Progressive rock band, Airbag, and that background is very apparent in the style of this album, although title track Forever Comes to an End does open the album in furious and heavy fashion, exploding into action immediately with Henrik Fossum of Airbag pounding out insistent driving drums. The theme of broken relationships and loss, with musings on the tension between Love and Hate are starkly focused upon in this crunching number: 

‘Fear, Do you Fear, Do you feel the hate…. But I’m scared to let you go out of my life…’

Bjørn Riis contrasts the darker hard riffing passages, reminiscent of Sabbath’s Toni Iommi, with occasional lighter, less intense shafts of musical sunlight, framing impassioned pleas to stay. Vocally Riis delivers this song, and the whole album, with a sense of  beautiful melancholy and yearning. This is powerful stuff in more ways than one. The brief bleak interlude soundscape of Absence atmospherically takes us to the emotive shores of The Waves, seguing with Ocean sounds as Riis intones mournfully :

‘I’ve been down for too long, I almost drowned,

There was darkness all around and it pulled me down to the deep’

In The Waves there is a fragility and emotional intensity in Riis’ voice, akin to Tim Bowness of No-Man, which gives this album a sense of honest emotion and humanity, born from personal experiences, and moves parts of this album away from the now predictable trademark Floyd style so successfully produced by Airbag on their albums. The Waves wistfully fades as the tide of the song recedes with echoes of the cinematic soundscapes of Thomas Newman film scores.

Instrumental Getaway slowly builds and builds, with layers of guitars across a sweeping canvas on synths, until a break of echoing keys and percussion is glided over by an icy guitar line. The driving rock theme returns with added wah-wah guitar, outstanding drums and riffs that more than hint at Porcupine Tree, that all add up to quite a thrilling ride. Calm shimmers with delicate beauty with a simple piano motif and acoustic guitars over lain with flute sounding keys, and then the whole piece eventually drifts away in to the distance, virtually acting as a beautiful introduction into Winter, the centrepiece of the whole album.

A gentle opening adorned with lilting acoustic guitar, over lain with subtle, tasteful  electric guitar dashes in the vein of Marillion’s Steve Rothery, express the contradictory emotional forces of resentment and forgiving, hate and love…

“Now she’s gone, but I still want her here, She stole my heart and she turned it into stone…”

This remarkable piece develops with increasing intensity as Riis builds with beautiful musical textures and Sichelle Mcmeo Aksum adds a female delicacy to the vocals, alongside Riis. The inevitable Gilmour like soaring lead guitar parts are used sparingly but effectively. Riis’ guitar is the main ‘voice’ in Winter as he uses it intuitively to emotionally express probably what words sometimes cannot say about broken relationships. A lovely bass line with uncanny echoes of Porcupine Tree’s classic ‘Dark Matter’ underpins the gradual elegiac disintegration of this great song.

A simple but touching piano melody by Simen Valldal Johannessen introduces Riis’ finely judged emotional vocal in the  final heart-breaking song Where Are You Now. Flute like keyboards float over a gradually building theme before Riis emotively illustrates this emotional song with a glistening, gliding guitar solo. The song and album finishes as Riis’ fragile vocals lead to the simple stark beauty of the opening piano motif. Heart break seldom sounds so beautiful.

There will be inevitable comparisons by some to later Pink Floyd, and fans of that band will find much to admire and touch them in this album. Sonically the production is perfect – this drips with feeling and atmosphere. Some of the songs would also not sound out of place on an Airbag album, which is inevitable considering Riis’ main role in that band. However, there is much more to ‘Forever Comes to an End’ than a Floyd pastiche or just an Airbag album by another name. Riis has really put his heart on the line on this release and such emotion exudes from the imaginative music and heartfelt lyrics on this intensely personal album.

Will this album save your life?

Very probably not, but like an Airbag ‘Forever Comes to an End’ may very well stop you getting a headache (!!) and  will certainly help you deal with the collisions and impacts of what life throws at us.

(Photos of Bjørn by Anita Stostad)

Released 19th May 2017

Order ‘Forever Comes To An End direct from the artist (Europe)

Order ‘Forever Comes To AN End from Burning Shed (UK)

NEW TOUR DATES ANNOUNCED FOR THE PINEAPPLE THIEF, FEATURING GAVIN HARRISON

The Pineapple Thief have announced the second leg of their European tour in support of the critically-acclaimed album Your Wilderness. The new dates will see the band venture into Poland and Switzerland along with shows in Germany, Czech Republic, The Netherlands and UK. See a full list below.

The band will again be joined by virtuoso Gavin Harrison (Porcupine Tree, King Crimson) on drums and Darran Charles (Godsticks) on guitar. As anyone who witnessed the shows earlier this year will attest, the new five-piece line-up has allowed Bruce, Steve and Jon to expand upon their signature sound, enabling the band to truly shine on stage.

For a glimpse of what to expect, fans can watch clips of the band’s sparkling performance at London’s Islington Assembly Hall here:

Tour dates

Wednesday, 6 September 2017 – Dresden, Alter Schlachtof

Thursday, 7 September 2017 – Warsaw, Progesja Music Zone

Friday, 8 September 2017 – Krakow, Kwadrat Music Club

Saturday, 9 September 2017 – Czech Republic Brno – Melodka

Sunday, 10 September 2017 – Munich, Backstage Halle

Monday, 11 September 2017 – Zurich, Dynamo

Tuesday, 12 September 2017 – Stuttgart, Universum

Wednesday, 13 September 2017 – Cologne, Luxor

Thursday, 14 September 2017 – Zoetermeer, De Boerderij

Saturday, 16 September 2017 – London, ULU

Sunday, 17 September 2017 – Bristol, Bierkeller

For more information and ticket details – http://pineapplethief.com/tour

Following a triumphant first leg, with several sold out shows, The Pineapple Thief has emerged as one of the most exciting live progressive rock acts on the circuit and a force to be reckoned with. Prog Magazine described the show as “a dynamic, dramatic experience” while Manchester Rocks commented that it’s “The Pineapple Thief, like you’ve never heard them before”.

“We can’t wait to get back on the road again!” explains band leader Bruce Soord. “Personally, I am really excited that people will have another opportunity to see and hear this fantastic line-up. Darran and Gavin have brought a whole new dimension to this band.”

The band will be performing Your Wilderness plus a string of re-imagined favourites from their back catalogue. These will be the last tour dates this year, and the final opportunity for fans to witness this line-up performing Your Wilderness in its entirety. Special guest support is from Kscope label mates Godsticks, who will be performing brand new material from their upcoming fourth album.

Your Wilderness is the 11th studio album from The Pineapple Thief. For the first time, the band brought in several special guest performers: Gavin Harrison (Porcupine Tree) contributed drums throughout the album, John Helliwell (Supertramp) some beautiful clarinet parts, and Geoffrey Richardson (Caravan) provided a string quartet. They were also joined by a 4-piece choir and to cap it all off, Darran Charles (Godsticks) added some jaw dropping guitar playing.

One of the most exciting bands to come out of the UK progressive rock scene in recent times, The Pineapple Thief was formed in 1999 by founder and chief songwriter Bruce Soord. The band has steadily evolved and refined its sound with the bass playing of Jon Sykes and the production and keyboards of Steve Kitch vital ingredients of the unmistakable TPT sound.

The Pineapple Thief online:

Website: www.thepineapplethief.com

Facebook: www.facebook.com/thepineapplethief

Twitter: www.twitter.com/pineapplethief

Instagram: www.instagram.com/thepineapplethief

Spotify: https://play.spotify.com/artist/4lrBMUSk8PiNnCEZfsmPAk

YouTube: https://www.youtube.com/playlist?list=PLE6401DB011BD837E

Apple Music: https://itunes.apple.com/gb/artist/the-pineapple-thief/id278648772

Gandalf’s Fist announce “Fistival” – One-Off Headline Performance in Workington, Cumbria.

UK Progressive Rock act, Gandalf’s Fist, have announced a special one-off headlining performance which they have coined simply as “Fistival”.

Commandeering the Carnegie Theatre in Workington, Cumbria, the 4th August show marks a homecoming for the band, capping off a hugely successful 12 months which has heralded the release of their acclaimed triple album, ‘The Clockwork Fable’; the Abbey Road mastered Vinyl release of ‘The Lamplighter’s Tale’; an unplugged session on ‘BBC Introducing’ and a blistering headline performance of the 2nd Stage at HRH Prog Festival.

Fistival promises to be a unique experience, with ‘the Fist’ promising to build on their “prog-roc-pantomime” with further theatrical shenanigans and full-stage projections.

The band are also offering a free digital download of ‘The Clockwork Fable’; with every ticket purchase. The free download, which features guest appearances from the likes of Arjen Lucassen, Blaze Bayley, Dr Who cast members and even Zach “Billy Peltzer” Galligan from Gremlins, is a stunning 3 hour window into the wacky world of Gandalf’s Fist and is surely the ideal preparation for what is sure to be a memorable performance.

Tickets for Fistival are currently on sale now via  the Carnegie official box office: https://carnegietheatre.ticketsolve.com/shows/873572691