Hailing from North Carolina’s music scene, new progressive metal quartet Nospūn have released one of the year’s most surprising albums. The band’s stunning debut, Opus, is a sonic journey that combines intricate melodies and powerful rhythms, creating something utterly breathtaking. Showcasing stellar musicianship and vocals, Nospūn have made the progressive metal world take notice.
Today, the band are pleased to share the video for the track “Earwyrm.”
The band explain the single: “Every great concept album still needs a song that can stand on its own, even without the context of the rest of the album to support it. We wrote “Earwyrm” to fulfill that role on Opus. It’s shorter than the more epic tracks and has lots of energy, but it still contains that grandiose vibe that the rest of the album has. Because of that, it was easily our first choice for a music video.”
The band had this to say about the response to the album so far: “The response we’ve received for Opus has been so affirming. When you work on an album for seven years, it becomes easy to lose the sense of whether people outside the band bubble will enjoy it, so it’s a huge relief to see that they do. And it’s just a great feeling to wake up every day and see someone new saying they just found our album and are loving it!”
Tracklisting: 1.The House at the End 01:53 2.Implosion Overture 05:14 3.The Death of Simpson 09:10 4.Dance With Me! 03:48 5.Tougher Love 02:56 6.Earwyrm 05:21 7….And Then There Was One 07:16 8.4D Printing 06:42 9.Within the Realm of Possibility 15:23 10.Back, Yet Forward 09:18 11.The House at the Beginning 03:57
Nospūn are: Phillip Rich – Vocals James Nelson – Guitars Cole Millward – Bass Paul Wood – Drums
‘The Light Of Ancient Mistakes’ is the new album from Hats off Gentlemen It’sAdequate and, again, we are offered an intriguing collection of songs, some of which are based on books and authors that Malcolm Galloway has read and been enthralled and inspired by. These books include works by Adrian Tchaikovsky and also the likes of David Cornwell, who wrote as John le Carré, and Conservative MP Chris Bryant. Other tracks are inspired by the works of Sci-Fi authors Iain M Banks and Philip K Dick. So, whilst not a concept album, many of the tracks are thematically linked to literature. This makes the album unusual and also challenging to listen to at times. However, the music is of their usual extremely high standard and there is a lot going on musically which grabs your attention.
The album has several instrumental tracks that combine to make a musical statement. This is pretty different to their last two albums, ‘The Confidence Trick’ and ‘Nostalgia For Infinity’, although the Science Fiction angle is covered by the choice of authors whose works inspired the music. There is some excellent music on this album, including the up-tempo opener Sold The Peace and the sad and aching hurt of Sixteen Hugless Years, which is based on the experiences of childhood neglect. This in itself is a sobering and desperately sad song, it is song where the hurt is palpable and deeply heartfelt. The track really makes an impression as you hear the hurt in the lyrics, all portrayed by Malcolm in a passionately delivered vocal. Also impressive is the song Glamour Boys which is about a group of mostly homosexual or bisexual Conservative MPs who were threatened by the reveal of their sexuality by Chamberlain’s government of the day. These men stood against appeasement and were prepared to suffer for their feelings and their different lifestyles, remember that homosexuality was actually a crime in that time. Many of these MPs paid a high price as a result.
Amongst all this heartache and pain you have interspersed some shorter instrumental pieces that act as a musical sorbet in cleansing the palate before the next song, for example the brief and deeply personal i’mtiredandeverythinghurts, Malcolm’s reflection on coping and living with an invisible disability (chronic pain due to Ehlers-Danlos syndrome) and how he feels when folk ask innocently, and with well meaning, ask how he is doing. It is a surprisingly upbeat track, very brief but it makes a good point about how we ask and often fail to understand or comprehend each other at times.
The next big track is Walking To Aldebaran, which is inspired by the AdrianTchaikovsky novella in which miscommunication between an astronaut and a malfunctioning, but well intended, machine leads to a monstrous transformation. Parts of this inspiration comes from the novella and other parts come from rhythmic patterns inherent in Peter Maxwell Davies‘ ‘Eight Song For A Mad King’. This is a very diverse track, often jarring and abrupt, with a lot of sequenced keyboards and Chapman Stick. It is highly developed and has great sounds contained within its nearly nine minute duration. It is, ultimately, another rather sad and forlorn piece though. Goodbye Cassini is a flute led tribute to the space probe that explored Saturn and its icy moons. When its fuel supply was exhausted on September 15th 2017 it plunged into Saturn’s atmosphere, still returning data to its end. A rather profound tribute to what was a ground-breaking and important scientific research mission that last nearly twenty years and covered nearly five billion miles. The Man Who Japed is inspired by Philip K Dick (who wrote ‘Do Androids Dream Of Electric Sheep’) and the album’s title track was inspired by Iain M Bank’s‘Look To Windward’.
The album is an interesting concept and also a very rewarding one ,especially if you delve into what thoughts lie behind the songs and then take the time to let the music work its own magic on you. Within this release you will find many excellent musical passages, some thought provoking words and some deep and important themes and questions. For me, this is another fine, well thought, considered and expertly delivered musical statement from Hats Off Gentlemen It’s Adequate.
‘The Navigator’, the upcoming latest album from Nova Cascade, is really rather interesting and impressive as it is, at its heart, a sincere, heartfelt tribute and celebration of the life and impact of violinist, guitarist and all round excellent musician, colleague, friend and inspirational muse Eric Bouillette, who sadly died of cancer last year after a long protracted battle. This album is based on the collective’s feelings and memories of Eric, he features throughout the album, as his magnificent violin work is on many tracks.
The album sales will raise funds in his honour and for Pancreatic Cancer UK, it is very much as one would expect, a collection of ambient progressive music with orchestrations and some vocals, flutes and guitars, all arranged and collated by DaveHilborne, who adds keyboards and sequencers to create the atmosphere. Whilst the album is a personal tribute, it is not maudlin and is rather a series of generally positive pieces, the fact being that Eric did not wish for his friends to be sad but to celebrate his existence and his skills with their music and to make the music positive where possible.
Haunting, sympathetic and beautiful at times, this is largely instrumental music although there are vocalisations to some tracks. Charlie Bramald of Ghost Of TheMachine provides the flute parts on several tracks and where there are vocals, they are performed by Dave Hilborne. He actually manages to sound not unlike FeargalSharkey, which is actually oddly effective and the style suits the track.
The music is really rather superb, Submergedis a long epic guitar solo from EricBouillette, performed over an expansive keyboard sequence and given room to stretch out and soar. This is very expressive and impressively performed, the backing support adds to the dramatic dynamism of the guitar performance, it is only a short piece but thrilling nonetheless. Other memorable and notable tracks include opener Sleeping Dogs and Safe Haven, which is hinged on some stirring piano chords and motif, sounding not unlike the early 1990’s Windham Hill label albums in places and, yes, that is a good thing, I used to love those album.
A Walk Along The Canal is a moving expressive violin part from Nina Chikvildze. Its mood is one of dignity and expression and creates a warm tone in tandem with the sensitive backing and a great guitar line from Colin, possibly my favourite track of the album, such is its simple beauty. The Navigator is a centrepiece of the album and also the longest, opening with a sixteen piece choir from Chile and Charlie’s ethereal flute tones. This is an excellent track that builds and has another epic guitar solo section, the track moves through its various parts seamlessly and is both highly effective and very memorable with standout performances from all concerned. A delicate acoustic guitar part adds dynamics and allows space for the dreamy keyboards to shimmer and shine clearly and evocatively. This is a simply stunningly well realised track, all the more impressive when you know it was all recorded remotely as the band have never met!
The Night Crossing also impresses, especially Colin’s guitar, as does The Fever Dream that continues in a similar vein. Again, this is keyboard dominated with great supporting bass from Dave Fick, who adds solidarity when required and is more subdued at other times. Any Minute Now is another excellent track with more vibrato vocals from Dave, expressing how we are taken before our time, as was the case with Eric, it is a very moving song. The Noble Lion is a shortish track but one that has lots of movement within it. Ambient type sounds prevailing alongside prominent bass notes, before a memorable piano motif appears, as do the drums, and the track builds in intensity. This carries across into the next track Submerged which takes us back to where this review began.
Return To Haven features more fluid violin from Nina and acoustic guitar sounding synth trickery from Dave. Colin’s suitably fluid electric guitar provides great counterpoint to the violin and synth and this makes for another standout track. Somewhere Between Here &Now begins to draw the album to a close with a spoken introduction from Olivia Steele. Final track, Au Revoir, performed entirely by Eric, is a touching and tender moment, deeply personal and very profound too and serves as a fitting conclusion and celebration of a life taken too soon of a person who will be deeply missed but who leaves us a legacy of emotionally enriched musical excellence.
This is an album to listen to quietly with contemplation and affirms the importance of love and the companionship of friends and that we should treasure those whilst we can. Very impressive and highly recommended.
Look At You Now will be released on September 8th via InsideOutMusic
New Single “The Dream” premieres today!
Pre-Order Look At You Now!
Prog Rock legends The Flower Kings have announced their return with their 16th studio album Look At You Now, out on September 8th. Nearing 30 years as a band, the group once again embraces vintage vibes and the warm, inviting sounds reminiscent of legendary and classic 70’s albums. Look At You Now is a stunning collection that will transport you to a bygone era of rock with swirling synths & guitars and thematic long-form pieces.
“The Dream” their newest song can be listened to HERE.
Roine comments on the new single: “The Dream”- our new single is actually created from a real-life dream – I woke up from a dream before 6 one morning – remembering the melody and main vocal idea – so I got up, turned on my music ’studio’ and laid down the basic chord and melody of it – singing bare-bones lyrics – just to be sure to remember it.
This song is about hope for a better world – came from a dream. Sometimes you get a feel for something that might be “important” – like your subconscious telling you what to do. Once we got to pick songs for the album both Michael and Hasse were insisting this anthem was an important song that need be on this album. We’ll see if they’re right.”
“So, to sum up, if you like to challenge yourself and you are prepared to move out of your comfort zone when it comes to your listening pleasure, you really ought to let If Not If into your life. It may not be for you but, if we didn’t challenge ourselves and expand our horizons, we’d still be lighting fires with sticks and living in the stone age!”
That was my conclusion of the two EP releases from Graeme Ginsberg, released under the artist name of If Not If, in late 2021. It was music that really made you think and was all the better for it. Fast forward to June, 2023 and Graeme released the follow up, ‘Structure’ and I was lucky enough to be asked if I would like to review it.
Structure is a collection of 12 instrumental tracks — progressive rock, with classic rock and jazz-rock fusion in the mix. There are nods to artists such as Pink Floyd, Phish, Led Zeppelin, Yes, King Crimson, Porcupine Tree, Jeff Beck, Pat Metheny and John Scofield, but essentially this is a refreshing collection of original pieces that are as inventive and uncompromising as they are familiar.
Graeme thought that this album would be more accessible than the previous two EP’s and I have to agree with him, only to a point though. What I loved about the first two releases, that dissonance and originality, is still there, sometimes front and centre and sometimes bubbling under the surface but the creativity has been ramped up a notch.
Illusion Part – II: Start is all bluesy, hard edged and very reminiscent of Robert Fripp but played over a 70’s rock riff that Jimmy Page would have been proud of, it’s a superb track that has its origins way back in 2001. This segues immediately into Illusion – Part II: Daydream which has a more laid back feel, almost like a psychedelic Beach Boys meeting Andy Summers in a very weird dream! The flowing, spaced out solo is genius and there’s a definite feel of Rush/Genesis in there too. Illusion – Part III: Second Wind ramps up the psychedelia considerably with echoing, intermittent guitars firing shots across a Sci-Fi backdrop, it’s all incredibly cool and stylish without trying to be, if that makes any sense. The Illusion Suite concludes with Illusion – Part IV: The Looking Glass, a piece of music that could be the ever so classy soundtrack to a really hip art school movie. It has a calming effect, the elegant bass pedal and polished guitar are just so smooth and edifying, the synths an ode to the best of 70’s pastoral prog and there’s another fine guitar solo that has you nodding in appreciation. This is intellectual music that just leaves you totally relaxed and enjoying every note, perfectly composed and beautifully delivered.
Curious Architecture could see Steven Wilson pricking up his ears with its early Porcupine Tree connotations and its serious, knowing edge. There’s a slow, brooding energy to the track, a pulsating, industrial rhythm that draws you in, it’s all deliciously dark and a delight to listen to, especially when the wonderfully fluid guitar kicks in. With the ‘Hard Boiled’ trilogy, Graeme was collaborating with a superb, well-known jazz-rock fusion bassist, but he had a tragedy in the family and couldn’t complete the very complex parts. Graeme was thinking of delaying release of the album but took the position to leave it as is, first because he thinks “Part II” is great and full-sounding as it is with the guitars and keyboard, and then also he thinks “Part I” and “Part III” stand up well as an intense guitar-drum duet, with strong melodic content without the bass. Hard Boiled – Part I: Fusion In A Bar is all smoky, bar room, jazz to begin with before everything goes left field with some rather cutting prog fusion breaking loose, it’s all very intense and in your face and I love it. Hard Boiled – Part II: Progression is an intense, mysterious listen with a funky guitar riff that has your feet itching to dance, add in the discordant keyboards and guitar solo that could only have come out of a feverish mind and you have the epitome of experimental jazz/prog fusion. I have to say it again, it’s not for everyone but, if you get it, you will absolutely love it. The intensity of the ‘Hard Boiled’ trilogy is broken up by Time On My Hands, an intricate solo guitar piece very reminiscent of Pat Metheny and one that has the feel of clever improvisation to it. Hard BoiledPart III: Conclusion is as intense as the other two parts, the guitar almost talking to you while the drums pound out a complex rhythm, it’s all quite intoxicating in its own way.
Vegas Nights is a perky, funky jazz/fusion piece that builds layers of earthy creativity into a spontaneous feeling piece of music that feels really alive and crackling with energy. That Reminds Me has fast paced, percussive opening that leads into a vibrant bass line and staccato guitar note to deliver something that wouldn’t be amiss at a recent King Crimson gig when the band just decide to improvise and have fun. The album closes with the wonderfully nostalgic feeling Weightless (Somewhere On The Road To Recovery), a short, contemplative piece of wistful synth and piano that leaves you in a thoughtful, uplifting mood.
We spend too much time rushing around in modern life, it doesn’t give us time to stop and appreciate our lives and surroundings. What ‘Structure’ shows us is that, if you just sit down and give yourself time to listen to evocative, thoughtful and sometimes challenging music, you will appreciate and enjoy it much, much more. Graeme Ginsberg, with his If Not If project, creates music that challenges us in many ways, challenges our conceptions of music even and, to me, that is a rare and wonderful thing because, when you come out of the other side, you realise your life may be just a little bit better for the experience.
Another World is out on September 4th – Pre-order begins today!
Southern Empire recently announced the new album, Another World, due out on September 4th, 2023 on GEP Records. It’s been five years since their last offering ‘Civilisation’ made such a big impression on the music press and fans alike and now the band have again created a masterpiece of musicianship and production.
Today, the band share the second single from the album. Watch the video for “Hold On To me” here:
Sean Timms had this to say about the new single: “From the very moment Cam Blokland, our exceptional guitarist, strummed the opening chords of ‘Hold On To Me,’ I was filled with the certainty that we had stumbled upon something extraordinary – one of the finest songs we would ever record.
The sheer brilliance of Cam’s lead vocals, complemented by the mesmerizing backing vocals from Shaun Holton, our new front man and rhythm guitarist, left an indelible mark on my mind. As the last note faded away, I knew ‘Hold On To Me’ wasn’t just another track; it was destined to be a hit.
The emotional depth and captivating melodies woven into the song have an undeniable power to linger in the hearts of listeners long after the music stops. ‘Hold On To Me’ is an unforgettable masterpiece that showcases the immense talent and chemistry of our band.”
Tracklisting: 1. Reaching Out (4:17) 2. Face The Dawn (12:45) 3. Hold On To Me (6:31) 4. When You Return (6:20) 5. Moving Through Tomorrow (10:23) 6. White Shadows (19:23) 7. Butterfly (4:25)
Shaun Holton – Lead and Backing Vocals Cam Blokland – Electric and Acoustic Guitars, Lead and Backing Vocals Jez Martin – Fretted and Fretless Bass Brody Green – Drums, Hand Percussion, Backing Vocals Sean Timms – Keyboards, Programming, Lap Steel Guitar, Backing Vocals
I spend a fair amount of my free time trawling the internet, now that I am retired, streaming music and checking favourite websites, mainly prog related ones, taking a note of the general chatter and recommendations folks make there. All of which helps keep me informed of what’s happening in the world of prog, I hardly ever post my own recommendations though, quite why, I’m not really sure, but, as my listening tastes vary daily from 70’s classic rock to as yet unreleased music, I would find recommending music hard and possibly biased.
Whilst trawling recently I came across Wakefield based prog act Materialeyes and decided to check them out via bandcamp. I listened to their earlier album, ‘Three of aKind’, which piqued my interest enough to contact Martyn Hawes and ask about the upcoming album release, ‘Inside Out’. Martin kindly sent me the album with a view to me reviewing it for Progradar and its my pleasure to be able to do this. I am always impressed by the quality of the releases you can find on bandcamp, I also like that funds go mostly to the artists directly, especially on bandcamp Fridays, which is even better for all concerned.
Well I’m glad to report that this a most interesting and rewarding release, whilst it may only has five tracks, it is an album of quality material starting with the solid opening track This World, that is about how we are hurting the world with our actions. The song begins with a chunky guitar chord and is followed by some glorious swathes of keyboards and a flute solo from Dave Westmoreland. It oozes pastoral progressive rock in the vein of Barclay James Harvest, that is a very worthy band to be compared to and Materialeyes do not disappoint either. There is a lot of layers to this track, Woody Wolstenholme would be proud hearing this strong song with it’s excellent style and good dynamics. Second track, Eric UponTweed, is a tale of a lad called Eric who finds himself removed from his family for attacking his drunken father, after seeing how he mistreat his mother. She arranges safe exit for Eric to his aunt’s in Berwick-upon-Tweed. This has distinct traces of Genesis’ style of storytelling, especially those with a social conscience to them. The story ends with Eric’s first sexual encounter in Berwick-upon-Tweed and latterly some words of praise from his dying father with whom there is a degree of reconciliation at the end. The tale is musically very rich with a great guitar line playing throughout and a great vocal from Martyn.
Longship is a maudlin and atmospheric track about Vikings returning to their homeland, the haunting sound being made by Will using his Ebow to create the haunting melodies. This melancholic piece has another great vocal from Dave, it is short but very moving and memorable indeed, a great track. Horsemen is inspired by the 1921 silent film The Four Horsemen Of The Apocalypse and starts with an acoustic guitar before prominent bass and keyboards join in. This is another longer track with room for expansive soundscapes, flute and synths, there are also western films referenced throughout. The track has echoes of the softer moments of Wishbone Ash’s Argus initially but soon becomes more strident, I really like this track and the panoramic soundscape it uses, it is a very well written, conceived and delivered piece of progressive music. The added length gives space for the music to unfold in the piece, additionally, the use of good dynamics really make a good impression, as does the fine bass playing from Martyn Howe, especially in the middle section. It makes this all the more rewarding to listen to, as does the fine guitar work from Dave Westmoreland and you can definitely hear the ‘Argus’ influence here.
Clay Man is the last and longest track of the album and was inspired by a heavy Wensleydale cheese eating session! The song is interesting, it’s subject matter a bit weird and dark in tone. It is mostly instrumental but with a few words, more music than words in fact and has more prominent bass alongside acoustic guitar and keyboards. It also has handclaps and what sounds like foot stomping and other syncopation, the song is one that builds in its intensity, which makes for interesting listening. A slower section with ethereal voices follows before the vocal of WillLawery, who also provides excellent guitar on the whole album. The words seem to be about a man who has seen much pain and horror in the world and is traumatised by it all, hence the sad nature of the track.
Well that’s it, you are left wanting more of this fine music and I’d recommend checking out their back catalogue as it has some great music available there. Hopefully they have a bright future, if they continue to make music of such an excellent calibre. ‘Inside Out’ is a most rewarding release and more than worthy of investigation if you can. I think you will like it a lot, there is much to enjoy, especially if you like more pastoral prog like BJH.
Something Ominous will be released on the 15th September (InsideOutMusic) / Touring Europe with SOEN in September/October.
Album pre-order begins today!
French/Irish alternative rock-metal outfit MOLYBARON, known for their energetic, hard-hitting sound, will release their new album Something Ominous on September 15th on InsideOutMusic/Sony Music. The announcement of the new album comes following the success of the recent single and video “Something Ominous.”
Over the course of two subtly radical records, 2017’s self-titled debut and 2021’s acclaimed The Mutiny, this eclectic quartet have casually bent and broken all the usual rules of modern heaviness.
In 2023, they return with their third and most fervently diverse record to date, Something Ominous: further evidence that MOLYBARON are operating in a field of precisely one.
When MOLYBARON released The Mutiny in 2021, the world was still reeling from the effects of a global pandemic. Nonetheless, the album struck its mark with ease, garnering countless glowing reviews and comparisons to the likes of System Of A Down, Tool and Muse. Two years on, Something Ominous reveals a band that have sharpened their focus and found their groove. Comprising ten succinct and characterful songs, which range from thunderous acts of aggression to noirish, mutant balladry, MOLYBARON’s third full-length is invigorating and immersive in equal measure.
“I don’t think our sound can be defined by one genre,” says guitarist/vocalist Gary Kelly .“It’s certainly not by design. I write and produce all the music in the band, but I’m strange – I never really listen to music. I have no idea what’s hot or what’s not these days. I suppose this makes it easier for me to create songs, I’m not trying to mirror any one style, I just write as it comes to me, probably based on what I hear floating in the ether; in the cinema, on the TV, on the elevator, it really doesn’t matter!”
MOLYBARON are also pleased to share the second single from the album.
You can check out the lyric video for “Breakdown” here:
“Breakdown” is a heavy, pop-tinged track, with lyrics conveying the struggle of a mind on the edge of collapse, capturing a sense of isolation, confusion, and vulnerability that accompanies these dark moments. A rousing, emotional mix of melodies, driven by aggressive guitar riffs, crushing bass, and electronic synth-scapes, “Breakdown” is invigorating and immersive in equal measure.
The album is available for pre-order now here:
https://molybaron.lnk.to/SomethingOminous
Tracklisting:
1 Something Ominous 4:07
2 Set Alight 3:26
3 Billion Dollar Shakedown 3:39
4 Breakdown 3:17
5 Anyway 4:15
6 Daylight Dies In Darkness 4:07
7 Dead On Arrival 3:22
8 Pendulum 3:35
9 Reality Show 4:18
10 Vampires 3:46
SOMETHING OMINOUS comes as CD in sleeve pack, 180g black LP in 12’’ inch vinyl sleeve and digital album.
Check out the video for the previous single “Something Ominous” here:
In addition, MOLBYARON will support SOEN on their upcoming MEMORIAL TOUR 2023 in Europe, starting September 20th:
Formed in Paris, early 2015, by Dublin-born singer/guitarist Gary Kelly, MOLYBARON have become one of the most talked-about bands in the modern metal scene.
Fusing together elements of alt rock, hard rock, and modern metal to create an eclectic, sonically dynamic experience, MOLYBARON deliver an intensely raw, original musical signature, appealing to fans across the genres.
Retreat from Moscow return in 2023 with their second album ‘Dreams, Myths and Machines’, the album follows on from the January 2021 release of their superb debut album ‘The World As We Knew It’, a record that was 40 years in the making.
‘Dreams, Myths and Machines‘ was forged over the past three years by original band members John Harris (guitar, vocals, keyboards and flute), Andrew Raymond (keyboards), Tony Lewis (bass) and Greg Haver (drums and percussion) with special guests Robin Armstrong of Cosmograf, Andy Tillison of The Tangent, Pete Kirby of Skylines and American vocalist Jillian Slade.
The album draws on themes of Welsh and Greek mythology, dystopian futures, social anxiety and colonial whitewashing and had a complex gestation during 2021 and 2022, with Haver recording behind the closed borders of New Zealand. With co-producer Clint Murphy (Enter Shikari, Thunder, Two Year Break) at the helm, the album was created in a variety of recording environments, including the legendary Rockfield studios in Wales. The band and team have taken their time and embraced varying themes, while pushing the boundaries of their extended compositions, adding to their musical lexicon.
“Retreat From Moscow’s first album ‘The World As We Knew It’ was the band looking back to our early days at the turn of the 1980’s, retracing our youth and memories through the songs. ‘Dreams, Myths and Machines’ is the band embracing our present and the lives we’ve led”, says New Zealand based drummer Greg Haver. “The new album is an exciting blend of stories past and present framed within the RFM prog rock soundscape” explains the band’s vocalist and guitarist, John Harris.
There’s a definite feel of 80’s Marillion about this release along with hints of the classy, educated pop/rock of It Bites, a superb coalition of sounds that delivers the band’s own inimitable sound, if you’ve heard the band’s debut release then you will recognise this immediately. In John Harris they have a very distinctive vocalist, his voice is all soul and gravelly, whisky soaked vowels at times and I, for one, really like it.
When writing long songs, you really have to be skilled to make sure there are no lulls or pointless sections just to extend the length of the track and Retreat From Moscow are real masters of this. From the upbeat, lush tones of opener Saving California with its driving guitar and rhythm section and the swirling keyboards and high energy feel of Flowerbride, there’s an instant connection with this release. It harks back to the time when music was heard in analogue and you waited for the Top 40 on the radio (or Top Of The Pops if you were lucky enough to won a TV!) to hear the best music and, if you were old enough (or not, if the case may be!), you would actually venture out and hear music live! This album is the sound of nostalgia to me, maybe I’m showing my age but I love it.
As most of you know, I’m an avid runner so a song with the title of Running Man is going to appeal, even before I’ve heard it! This short and punchy song is dynamic and melodic in equal measure with superb keyboards and elegant guitar and the bass and rums of rhythm section Tony Lewis and Greg Haver are rock solid. Things get more intricate with the sombre I Can Hear You Calling, an emotive track where Jillian Slade shines as the foil to John’s ever impressive voice. It’s a song full of sentiment and barely held back sorrow but there’s beauty in even the darkest of subjects and this piece of music delivers like watching the rain fall while sat in front of a warming fire. Windchill sees the appearance of Robin Armstrong whose wonderfully fluid and intensely passionate guitar adds layers of warmth and sentiment to a gorgeously wistful and poignant song. As I get further into this superb release I am ever more impressed by the skill on show and the eloquent songwriting and it is completely evident on this exquisite track.
Time is really flying and yet we’re only half way into this immersive album, the laid back intro to Time Traveller almost leaving you in a musical vacuum as the soundscape touches your synapses before John’s edgy guitar kicks in along with harmonised vocals. It’s all very 80’s and done incredibly well. I’ve mentioned nostalgia before and the wistful feeling that this thoughtful music engenders really does take me back to a time where everything felt much simpler to deal with. It’s easy to just lose yourself in the music, especially the very Floyd-esque section half way through the song. The Machine Stops is, perhaps, my favourite track on the album (although I do keep changing my mind as they are all so good!), it’s soulful and inventive and features one of the most innovative keyboard players alive today in Andy Tillison and he delivers one of his trademark solos here, as well as organ embellishments. The song itself builds gradually, layer by layer, inviting you in to the creative process and enveloping you in its warm musical embrace. This insightful musical journey ebbs and flows and is never less than engaging, especially when it reaches a crescendo and goes firing off on all its metaphorical (keyboard infused) cylinders. When progressive music is as good as this, it really doesn’t get any better and I could listen to tracks like this all day.
Oh yes, we are going right back to the heyday of 80’s neo-prog with the highly enjoyable Assassin’s Cloak, a track that would have graced any album from the prog luminaries of that age but, more importantly, one that’s bang up to date in production qualities and delivery. To me, it’s one of the highlights of what is already a highly impressive release. With superb vocals, potent musicianship and energetic enthusiasm to spare, it really is a magnificent romp. The album closes with the electronic edge of DNA, a thoughtful, penetrating and astute homage to the discovery of the chains of human existence. With its measured, metronomic rhythm laid down perfectly by Tony and Greg, Andrew’s delightful keys and John’s stylish guitar and vocals, this is progressive rock at its most penetrating, add in the voice over from Drew Berry and we really have something very special here.
What was that saying about difficult second albums? Well, with ‘Dreams, Myths and Machines’, Retreat From Moscow have totally debunked that myth. Intelligent, insightful and thoughtful and sprinkled with progressive rock stardust, it is a wonderfully immersive listen. There you go, in this case, nostalgia definitely IS what it used to be!
Founded by vocalist/songwriter Mark “Truey” Trueack (United Progressive Fraternity) and multi-instrumentalist Sean Timms (Southern Empire,Damanek, UPF) in 1996, Australian progressive fusion Unitopia have always been among the most renowned and distinctive bands of their ilk and era. Now the band is pleased to announce the new studio album Seven Chambers, due out on August 25th, 2023.
Unitopia has undoubtedly reached new creative, emotional, and intellectual heights with their latest opus, Seven Chambers (their first original collection on independent label Progrock.com’s Essentials). Comprised of seven tracks and lasting just over eighty minutes, it’s an incredible journey that finds Unitopiareturning at the peak of their artistic and technical prowess.
Plus, multiple color variations are available for the physical versions, as well as a special vinyl edition that features a die-cut cover revealing a portion of the sleeve behind it!
Tracklist: 1. “Broken Heart” (8:30) 2. “Something Invisible” (6:39) 3. “Bittersweet” (7:20) 4. “Mania” (12:29) 5. “The Stroke of Midnight” (9:38) 6. “Helen” (19:14) 7. “The Uncertain” (18:33)
As the follow-up to 2010’s Artificial and 2012’s Covered Mirror Vol. 1 – Smooth as Silk (a superb assortment of classic/prog rock reinterpretations), Seven Chambers is Unitopia’s first new outing in over a decade. During the interim, each member kept busy with various other projects, and according to Progrock.com‘s Essentials’ Mark Monforti, the method of getting the group going again was endearingly fortuitous:
“A few years ago, Steve Hackett was exploring studios and players for a show in Australia, and he contacted Timms about using the studio that he and Truey still owned. That got Sean and Truey talking about possibly working on new music together. Then, I reached out to them about doing some shows. They went exceedingly well, which sort of solidified the fact that Unitopia needed to come back.”
With Timms and Trueack reunited, the duo decided to expand Unitopia by bringing in fellow UPF maestro SteveUnruh, guitarist Dr. John Greenwood, drummer Chester Thompson (Frank Zappa, Weather Report, Genesis) and bassist Alphonso Johnson (Weather Report, Santana, David Gilmour).
Seven Chambers is a globe-spanning effort that began in 2021, with virtually every member working in their own studio in either America or Australia. Although things got off to a strong start, a few unexpected hiccups somewhat impeded the band’s headway.
“Progress was severely interrupted by Sean’s other commitments, such as moving into a renovated house and being in-demand with other projects and festivals. Then, Truey and Chester faced personal hardships. At more than one stage, it looked like the record might never happen. Luckily, the delays led to a few solo projects blossoming, and suddenly, our schedules began clearing in early 2023 and we began moving at a real pace again,” SteveUnruhexplains.
Thus, Seven Chambers is truly a testament to Unitopia’s chemistry and commitment, not only because it sees them triumphing over those setbacks but because it ended up being roughly twice as long as the original 40-minute plan (without a moment of filler!)
The band already have a few dates lined up which you can see here:
2023 Tour Dates: 3 Sept. – 2Days Prog + 1, Veruno Novara, Italy 5 Sept. – Konzertfabrik Z7, Pratteln, Switzerland 9 Sept. – Neuberinhaus, Reichenbach im Vogtland, Germany 13 Sept. – Colos-Saal, Aschaffenburg, Germany 14 Sept. – Poppodium Boerderij, Zoetermeer, Netherlands 15 Sept. – Chez Paulette Pub Rock, Pagney derrière Barine, France 8 Oct. – ProgStock, Rutherford, New Jersey, USA
Unitopia: Mark “Truey” Trueack – vocals, songwriting Sean Timms – songwriting, keyboards, backing vocals, various stringed instruments Steve Unruh – songwriting, backing vocals, violin, flute, rhythm guitars, mandolin John Greenwood – songwriting, backing vocals, lead electric guitar, nylon-strung guitar, 6 and 12-string acoustic guitars, mandolin, programmed orchestration Chester Thompson – drums Alphonso Johnson – bass
