The Tangent recently announced the release of ‘Pyramids, Stars & Other Stories: The Tangent Live Recordings 2004-2017’ on the 27th January 2023 via InsideOutMusic. Collecting together tracks from 3 line-ups of The Tangent, this 2CD & 3LP album collects together show recordings from 2004, 2011 & 2017. Band leader Andy Tillison comments: “A Triple Live LP is the stuff of Bucket Lists, dreamed of doing one of these since I was a kid”.
Listen to the band performing ‘A Crisis In Mid Life’ live in the UK in 2012, featuring the line-up of Andy Tillison, Luke Machin, Dan Mash & Tony ‘Funkytoe’ Latham, here:
Included in its entirety is the 2004 ‘Pyramids And Stars’ concert in Germany featuring the “Roine Stolt” lineup of The Tangent playing its way through the majority of the debut ‘Music That Died Alone’ album along with (then) new material from their second album ‘The World That We Drive Through’.
Added to that, there are tracks from the COMM era line-up of the band at a concert in the UK – plus music recorded in the USA in 2017 by the band’s current line-up. These originally appeared on the ‘Southend On Sea’ and ‘Hotel Cantaffordit’ fan releases respectively.
All is presented inside a re-imagined Ed Unitsky sleeve, to create a package that fans are sure to love.
“This is a real, proper, live album” says Tillison. “It’s candid, it’s spontaneous, it has mistakes and things that are a bit too loud and things that are a bit too quiet. It’s what happened on stage at three gigs at which “making a live album” never crossed our minds.”
The full tracklisting is below:
Side One
1. The World We Drive Though
Side Two
3. The Canterbury Sequence
4. The Winning Game
Side Three
5. In Darkest Dreams
Side Four
6. The Music That Died Alone
7. Lucky Man
Side Five
8. A Spark In The Aether
9. A Sale Of Two Souls
10. Perdu Dans Paris
Side Six
11. A Crisis In Mid Life
12. Doctor Livingstone (I Presume)
The CD’s (included with the vinyl edition) also include all of the above with the addition of:
13. Titanic Calls Carpathia
14. Two Rope Swings
Andy Tillison – Keyboards & Vocals (all tracks)
Jonas Reingold – Bass Guitar (all tracks except 9,10,11,13)
Check out the album’s opening track “Friend or Foe?” in its ‘Single Edit’ and with a video clip animated and directed by Thomas Hicks / http://www.thomashicks.co.uk here:
RIVERSIDE’s Mariusz Duda checked in with the following comment about the new single:
“’Friend or Foe?’ is one of the key songs on the new RIVERSIDE album. Not only is it the opening track but, musically, it is possibly also the most courageous and intriguing one.
One of its strong points is the lyrics which talk about how we’re perceived by others, especially these days, when pretending to be someone you’re not on social media has become the norm. Can we still be ourselves or do we have to keep adapting to the requirements of new algorithms? Perhaps we’ve already lost our identities and we’re only waiting for instructions from a Siri or Alexa?
“Who do you pretend to be?” are the first words of the song and the listener has already started searching for that 80s band it reminds them of. Is this a mere inspiration or is it provocation? Is the writer of the song pretending to be someone else or is this who he really is? Who is behind it all? The artist himself or a producer churning out music for many other artists? Is what I’m writing now a reflection of what I’m feeling or am I writing it because I want to put the song on a higher recommended playlist? And if we apply it to politics, who are the candidates? Are they credible? Trustworthy? Will they keep their promises? And finally, will we be able to trust each other one day, hear each other out and understand, or will we still keep our distance and suspicions?
Perhaps there is a chance to build a better world, but how to recognise who is a friend and who is a foe?”
“ID.Entity”, the group’s 8th studio album was recorded and mixed in two studios – The Boogie Town Studio in Otwock with Paweł Marciniak and in Serakos studio in Warsaw with Magda and Robert Srzedniccy -, mastered by Robert Szydło and produced by RIVERSIDE’s Mariusz Duda himself. The “ID.Entity” artwork was created by Polish artist Jarek Kubicki.
Previously released singles/videos off “ID.Entity” can still be checked out here:
RIVERSIDE have also launched a “Riverside Heavy” playlist featuring “I’m Done With You” as well as many other heavier tracks from the band’s comprehensive catalogue, which you can check out here:
Here is the standard track-listing for the album:
RIVERSIDE – “ID.Entity” (53:11)
Tracklist:
1. Friend or Foe? (07:29)
2. Landmine Blast (04:50)
3. Big Tech Brother (07:24)
4. Post-Truth (05:37)
5. The Place Where I Belong (13:16)
6. I’m Done With You (05:52)
7. Self-Aware (8:43)
The bonus material appearing on “ID.Entity” includes the instrumental tracks “Age of Anger” (11:56) and “Together Again” (06:29) as well as “Friend or Foe? (Single Edit)” (05:59) and “Self-Aware (Single Edit)” (05:29).
“ID.Entity” will be available in the following formats:
– Ltd. Deluxe 2CD+Blu-ray Artbook (Disc 1: Album, Disc 2: All 4 bonus tracks, Blu-ray: All main 9 album tracks in Dolby Atmos, 5.1 and 24bit HighRes Audio mix versions) -> Pictured above!
– Ltd. 2CD Mediabook (Disc 1: Album, Disc 2: All 4 bonus tracks) -> Pictured above!
– CD Jewelcase
– Deluxe Digital Album (Including all 4 bonus tracks)
– Digital album
The album’s vinyl version comes as Gatefold 2LP (With the bonus tracks “Age of Anger” and “Together Again” on Side D) in the following variants: – Black vinyl: All outlets – Orange vinyl: All outlets
– White vinyl: 500x copies via JPC & Burning Shed – Yellow vinyl: 500x copies via EMP & Just For Kicks – Sky Blue vinyl: 600x copies via Laser’s Edge & CM Distro/Webshop Europe
“ID.Entity”, an album that extends and expands RIVERSIDE’s characteristic sound, but all in a revamped and more dynamic formula, follows 2018’s widely acclaimed ‘Wasteland’ album, which entered the charts in Germany at # 13, The Netherlands at # 28, Switzerland at # 23, Austria at # 39, UK at # 83, Finland at # 30, France at # 97, Czech Republic at # 59 and Poland at # 1.
Next to their return to North America in February/March, RIVERSIDE have recently also announced their “Spring Edition” European Tour, a first of three European touring legs across this year. Check out the band’s upcoming confirmed live-dates here:
RIVERSIDE – “ID.Entity” – Live 2023:
North American Tour: 17.02.2023 Tampa, FL – The Orpheum
18.02.2023 Orlando, FL – The Abbey
19.02.2023 Atlanta, GA – Hell At The Masquerade
21.02.2023 Dallas, TX – Amplified Live
22.02.2023 Austin, TX – Come And Take It Live
24.02.2023 Mesa, AZ – The Nile Theater
25.02.2023 Pomona, CA – The Glass House
26.02.2023 Berkeley, CA – Cornerstone
28.02.2023 Vancouver, BC – The Rickshaw Theatre
01.03.2023 Seattle, WA – Neumos
03.03.2023 Salt Lake City, UT – The State Room
04.03.2023 Boulder, CO – Fox Theatre
07.03.2023 St. Paul, MN – Amsterdam Bar And Hall
08.03.2023 Chicago, IL – Bottom Lounge
10.03.2023 Toronto, ON – Lee’s Palace
11.03.2023 Montreal, QC – Corona Theatre
12.03.2023 Quebec City, QC – Imperial Bell
14.03.2023 Boston, MA – Brighton Music Hall
16.03.2023 New York, NY – Sony Hall
17.03.2023 Philadelphia, PA – Underground Arts
18.03.2023 Pittsburgh, PA – Thunderbird Music Hall
19.03.2023 Washington, DC – Black Cat
21.03.2023 Carrboro, NC – Cat’s Cradle
European Tour – Spring Edition:
16.04.2023 Eindhoven (The Netherlands) – Effenaar / Prognosis Festival 18.04.2023 Dublin (Ireland) – Button Factory 20.04.2023 Glasgow (UK) – Garage 21.04.2023 Birmingham (UK) – O2 Institute 2 22.04.2023 Manchester (UK) – Academy 2 23.04.2023 London (UK) – Indigo O2 / Prognosis Festival
25.04.2023 Copenhagen (Denmark) – Amager Bio 26.04.2023 Gothenburg (Sweden) – Pustervik 27.04.2023 Oslo (Norway) – Cosmopolite 28.04.2023 Stockholm (Sweden) – Lilla Cirkus 30.04.2023 Tampere (Finland) – Olympia 01.05.2023 Helsinki (Finland) – Tavastia
Dark, emotive and brooding One Sided Horse (Mark Whiteside) and noted Icelandic musician Kalli have joined forces to deliver ‘The First EP’, a Double ‘A’ side single & download with two instrumental versions and an acoustic demo, which will be released on the 27th of this month.
The two tracks consist of Paint The One Star with OSH on vocals and Kalli providing backing vocals and additional instruments and Coming Down where roles are reversed.
Fans of Mark will know his pained, touching vocals from One Sided Horse and his other projects Desks and The Opening Song and he delivers once again with the moving, sparse beauty of Paint The One Star. His voice has a quality all of its own, one that really touches your heart with its plaintive and melancholy tone. MarkBarlow’s piano provides a gloriously wistful feel and the strings from Arnar Gudjonsson on both tracks are just sublime. It’s a beautiful piece of music imbued with a fragile grace that brings to mind Bowie’s ‘Blackstar’ and will leave you visibly moved.
Kalli is the former singer & songwriter of Reykjavik’s Without Gravity and Mark has long been a fan. Coming Down is another wonderfully low key, understated piece of music that showcases the dramatic cinematic soundscapes of his homeland, infused with some whimsical Americana that gives it a bewitchingly nostalgic atmosphere and one where the space between the notes matters just as much. Once again, the graceful strings add a real polish to this excellent song.
Great music always has the capacity to move you and to give life new meaning, it can lift you up when you are down and help you celebrate the highs. These two fantastic musicians have combined to deliver something rather special, broody and dramatic in parts but, ultimately, this is a joyful and uplifting EP that will leave you in a much better place.
Yesterday saw the editor’s top twenty albums of 2022, today we see what made respected contributor John Wenlock-Smith’s list….
John says, “It’s been a great year for music, especially prog, with many fine releases from established and also newer acts. Here are twenty that really struck a chord with me, in no particular order but all worthy of inspection and consideration.”
D’VIRGILIO, MORSE, JENNINGS – TROIKA
In which well known prog aficionados beguile us with their inner CSN&Y. It’s all acoustically in the main but a very strong collection of songs that must warrant a second visit – here’s hoping so at least!
Hats of Gentlemen It’s Adequate – The Confidence Trick
A wonderful and diverse set of songs around the concept that we are being led by arrogant fools whose overconfidence is actually severely dangerous, examples being Trump, Johnson and, more recently, Liz Truss whose overconfidence nearly destroyed any chance of economic growth.
Stuckfish – Days of Innocence
A simply marvellous album that impressed many with its thoughtful lyrics and excellent music.
SiX By SiX – Self Titled
A bit of Saga, a bit of Saxon, add Robert Berry’s muscular bass and you have a blistering rock album with very progressive elements and leanings. Again this one impressed greatly.
Kaipa – Urskog
The long established Swedish folk-proggers delivered a truly graceful album with several epics and more than a touch of vintage Yes, a great set of songs.
Derek Sherinian – Vortex
In which the ex-Dream Theater keyboard man delivers a captivating, electric set of tracks supported by several big name friends including Steve Stevens, NunoBettencourt, Bumblefoot and Joe Bonamassa, to name a few. Blistering in parts and excellent overall.
The Mighty Ra – All Secrets Known
A new band of mainly Welsh prog musicians who began writing together with this rather fine album being the result. An excellent new album with great promise.
Verbal Delirium – Conundrum
This was new to me but what a find! A very classy album with a great vocalist, strong songs and great playing from all, definitely one to discover.
Arc Of Life – Don’t Look Down
The second album from Yes spin off Arc of Life. Jon Davison and Billy Sherwood delivering the album that Yes maybe should have. Epics like Real Time World and Arc of Life were standout tracks in an album of importance and strength.
The Bardic Depths – Promises Of Hope
Literature loving progressive band deliver a fine second album about suicide via a fictional tale of a suicidal queen whose death is prevented by the Gods. Enthralling and with many guests in tow.
Tribe of Names – Evolver
Evolutionary album from ex-Tinyfish man Simon Godfrey & colleagues that sees them stretching their legs musically. There’s a welcome strong Rush influence throughout and its a superb album overall.
Phi Yaan Zek – Interdimensional Garden Party
This very strange but satisfying album occupies a realm the sadly departed and much missed Frank Zappa would have graced with its blend of instrumentals and strong songs. Wonderful weirdness is obligatory with such stunning tracks as Wickety Wickety being enough to make anyone smile. A seriously good album that warrants investigation.
John Holden – Kintsugi
John lives close to me and he delivers a strong fourth album of various pieces with a stellar assembly of guests, a highly varied and ultimately satisfying and enjoyable album.
Pattern Seeking Animals – Only Passing Through
This is the third album from Spock’s Beard writer and contributor John Boegehold. With excellent support from existing members of the band, strong songs and catchy hooks abound.
Red Bazar- Inverted Reality
Another unexpected pleasure with a harder edged sound and excellent vocals from Peter Jones, this was very welcome indeed.
Dave Brons – Return to Arda
Simply divine and beautifully melodic Celtic-tinged music from Dave Brons and friends with a concentration on melody with moments of shredding brilliance. Totally sublime and utterly captivating.
Ghost Of The Machine – Scissorgames
A triumphant debut from ex-This Winter Machine men who, along with sublime vocalist Charlie Bramald, fuse melody and muscle in a devastating combination. Truly awesome, well received by many and rightly so too!
Clive Mitten – Tales From A Misspent Youth Volume 1
Entirely orchestral versions of songs that inspired Clive whilst growing up. His take on key songs from Pink Floyd, Genesis, Supertramp and Rush really are a must to hear. How he brings out hitherto hidden beauties to much loved pieces is gorgeous.
Evership – The Uncrowned King Act 2
The final part of the tale is a sobering statement of intent from fine US proggers Evership and the additional vocals from Saga’sMichael Sadler impress greatly.
David Longdon – Door One
Posthumously released after David’s unexpected death in 2021, this telling collection reveals his continued evolution as a writer and, whilst short, this bittersweet album reminds us of of the great man we lost last year.
So, there you have it, that’s it for 2022 from John and myself, see you on the other side…
Your intrepid editor running a 24 hour event earlier in 2022.
As most of you know I am a very committed runner so the above picture is really my personal running highlight of 2022 (a 24 hour running event) but below you will find my top 20 albums of the year for 2022.
The first fifteen are in no particular order, they are just brilliant albums that I really enjoyed throughout the year but the final five are my definitive favourites of the year. So, without further ado, here we go…
David Longdon – Door One
A wonderful collection of songs that made a fitting and poignant epitaph for an amazing songwriter, musician and, above all, a wonderful man. I was lucky enough to meet David a few times and he was the least likely ‘rock star’ you could ever meet but, boy, what a voice and this album was the culmination of his musical career. One that was tragically cut too short.
Gandalf’s Fist – Widdershins
The ‘Clockwork Saga’ will always be seen as a monumental piece of work but, as a stand-alone release, ‘Widdershins’ sees Gandalf’s Fist at their absolute vibrant and dynamic best, every musician giving 100% and, while I’ve always been a fan of this very distinctive band, this new release sees them hitting an entirely new level.
Avandra – Prodigal
AVANDRA have created a thrilling and compelling take on the progressive-metal genre and one that is delivered with not a little expertise and finesse. ‘Prodigal’ is one of those intricate and influential albums that takes some understanding at first but when you peel back the final layer of this epic behemoth, it is a wonder to behold.
The Opening Song – Hidden Walls
Imagine music written like a classic novel of the 20’s and 30’s, there’s a wide eyed and wistful innocence that you just don’t get anymore in the world but behind that innocence, there’s also a world weary knowledge that the world isn’t always what you think it is or what you want it to be. ‘Hidden Walls’ is achingly beautiful but also wistfully painful at the same time. It’s made me quite emotional and that’s a rare thing but, isn’t what what music should do?
Comedy of Errors – Time Machine
After a long five year absence, ‘Time Machine’ is a fine return from one of progressive rock’s premier artists and an album that I am constantly revisiting. Cementing Comedy of Errors‘ status as one of the foremost artists in the genre, it is sure to be one of 2022’s most welcome releases.
Esthesis – Watching Worlds Collide
An object lesson in combining the stylish sensibilities of smokey jazz grooves with an almost 50’s noir film score to deliver a slick musical experience, all wrapped up in a sharp suit. Overall, ‘Watching Worlds Collide’ is a seriously good album with tons of Gallic flair, intelligence and inventiveness, it is also the coolest thing you are going to hear this year and I love it!
The Round Window – self-titled
A high quality release with wonderfully emotive songs and superb musicianship, this self-titled album may be The Round Window’s debut release but it shows a group of musicians who are already playing at a very high level and have creativity to burn. I can’t recommend it highly enough, this should be in everyone’s music collection…
Oak – The Quiet Rebellionof Compromise
Oak have a unique, innovative sound and you can hear it mature and transform on every album they release. Their approach to music is refreshing and sees them deliver meaningful music that has heart and soul and, with ‘The Quiet Rebellion of Compromise’, these talented musicians have created their most accomplished and consummate work yet.
Glass Hammer – At The Gate
Melodic, symphonic and, at times, monumentally heavy, ‘At The Gate’ is a superb, majestic leviathan of an album that enhances the band’s legacy as masters of the genre. This final instalment in the impressive trilogy brings things to a triumphant and proudly pompous conclusion, this is Glass Hammer at their finest, hugely expressive and sonically brilliant.
Threshold – Dividing Lines
For fans of the band it’s been a long five years since ‘Legends Of The Shires’ but when they return with an album as strong as ‘Dividing Lines’, you could say it has been worth the wait. Threshold are one of the pre-eminent proponents of prog-metal performing today and this fantastic new release has cemented their position right at the top of this particular musical tree.
VLMV – Sing With Abandon
There are times when you hear a piece of music that leaves you open mouthed in appreciation and, when I first heard ‘Sing With Abandon’ I was utterly stunned. Albums like this are more than mere music, they pervade your very soul, take over your life and almost bring you to tears at their beauty. VLMV have created something so good that it almost becomes a state of mind and I thank Pete Lambrou from the bottom of my heart for doing so.
Dim Gray – Firmament
I was seriously impressed with Dim Gray’s debut release ‘Flown’ but the last forty five minutes has shown me that this band have elevated themselves to another level entirely. ‘Firmament’ is a magnificent achievement, twelve songs that ebb and flow superbly and sum up perfectly what music is truly about. These three truly inspiring musicians have created something that is prime and organic, their music can get under your skin and influence your very moods and my life would truly be a much sadder place without it!
Ghost Of The Machine – Scissorgames
This superb album was reviewed for Progradar by my good friend Leo Trimming and I have to agree with every single one of his words:
‘Scissor Games‘ is a remarkable debut album. It clearly owes so much to earlier eras of Prog Rock but when it is done with this sheer amount of brio and skill, allied with powerful, impactful lyrics, then it is entirely valid and worthy as a piece of music and art. Many Prog fans will absolutely fall in love the style and emotional content of ‘Scissor Games‘ which will very probably be rightfully be regarded as one of the best debut progressive rock albums of 2022.
Gustaf Ljunggren with Skúli Sverrisson – Floreana
Philosophical and meditative, ‘Floreana’ will leave you in place of utter calm and leave you ruminating on life, the universe and just about everything. It’s as much about the spaces between the notes as the notes themselves and the state of mind that your are left in. To me, it is one of the surprises of the year so far and an album that I implore you to listen to at least once, trust me, it will be worth it…
Omega Point – A Great Escape
Matt Cohen has brought together a stellar group of musicians and, in Omega Point, created a powerful musical statement, close-knit and cohesive. ‘A Great Escape’ is another fantastic addition to the ranks of accomplished new releases we have already been lucky enough to hear in 2022 and can proudly hold its head high along with the best of them. Let’s hope this is just the start of things to come!
So that’s fifteen of the best albums I’ve heard in 2022 and they all rightly deserve a place in this review but now for the top five…
In fifth place:
Bjørn Riis – Everything to Everyone
Music can make a world that seems to be falling into monochrome light up and be revitalised with blazes of colour and vitality and this wondrous new album from musical maestro Bjørn Riis brings all that and more. Power, soul and grace are infused throughout its six tracks and combine to make it one of the outstanding releases of 2022 so far.
Fourth place was taken by:
The Tangent – Songs From The Hard Shoulder
‘Songs From The Hard Shoulder’ is just a wonderful piece of work, The Tangent at their brilliant best. People need some cheer in the world and music has the power to lift people, after just one listen to this amazing album I was smiling again. Andy and the band could just have released their most important record yet…
Now on to the top three, starting with:
cosmograf – Heroic Materials
The sumptuous, questioning ‘Heroic Materials’ is undeniably brilliant. Robin has laid his heart and soul, his whole being in fact, down as music. Emotive, melancholy at times, this record is a story and history at the same time. A plea for the future of the planet it may be but, above all, it is an immersive artistic triumph and one of the best releases of recent years.
And, as hard as I tried,I couldn’t split the final two so we have joint winners of my album of the year and I’m listing them arbitrarily by release date:
Joint First Album of the Year – Marillion – An Hour Before it’s Dark
I have been a fan of Marillion for over three decades and, in a career of superlatives, ‘An Hour Before It’s Dark’ can truly be seen as one of their most accomplished albums. It is an outstanding piece of music that the band should be incredibly proud of and, even though we are only in February, it will take something amazing to knock it off the top of my album of the year list.
Joint First Album of the Year – Galahad – The Last Great Adventurer
When music is as good as this and touches you in a very personal manner, it can’t really get any better. In my opinion Galahad have returned with what can only be described as a modern progressive masterpiece and one that will stand the test of time and should be remembered as being one of the best albums of recent years. It’s my joint first album of the year and I really can’t give it any higher praise than that.
So, in a year of high quality releases, this is my definitive top twenty, a collection of superb albums that would grace anyone’s music collection, tomorrow will see Progradar’s respected contributor John Wenlock-Smith’s top 20 albums and I am already looking forward to what 2023 will bring…
Russian virtuoso pianist, composer and arranger Gleb Kolyadin is perhaps more well know for being part of iamthemorning with Marjana Semkina but he has also released some impressive solo works and ‘the Outland’ is his latest.
Gleb describes the creation and themes of the album thus, “Its main outlines were formed during the covid isolation in 2020, but they are still relevant now. In all the madness that is happening on the planet, it is sometimes critically important to create your own world, to find the spirit of a hermit in yourself in order to look at what is happening from the outside with a different understanding. This is Outland – a world within a world, assembled from disparate fragments.”
The album is described as, “a six-movement symphonic suite (of course, in a prog/jazz-rock vein).” and Gavin Harrison (drums) and Vlad Avy (acoustic guitars, electric guitars) complete the ensemble, although there are some other very fine musicians who contribute, such as Tony Levin, Tim Lefebvre and Zoltan Renaldi.
This release is a fine collection of intricate musical pieces that all combine together to create a beautiful whole. There is a feeling of calm and sophistication that runs throughout the brief forty-one minute running time. Gleb’s elegant piano is key to everything here, although the stylish and refined drumming of Gavin Harrison is a huge contributor to the overall welcoming vibe of this album.
The ten minute wonder of opening track Voyager sets the scene perfectly, this is classical music for the those who appreciate something with more modern and experimental feel, which is exacerbated by the rather wonderful Ascension with its wistful and ethereal rise and fall created by the amazing clarinet. Cascades is a very moving solo piano piece that leaves a trail on your heartstrings and Mercurial is a more strident and direct track that builds and builds into something rather special that dances across the ether in a rather magical fashion. Apparatus has a proper 1980’s instrumental vibe to it, well to my ears anyway, it’s urgent, yet melodic, tone is captivating and draws you along as a willing participant. This all too short inspiring musical journey is brought to a close by the elegant notes of Hermitage, a charmingly bewitching way to bring things to a satisfying conclusion.
In a world where dark seems to be inexorably striving to push out the light, musical gems like ‘the Outland’ are a beacon of light in the darkness and show that music can heal that which is broken and, above all, music is life affirming.
‘Making Shore’ will lift your spirits from any post new year blues that you might be troubled with, for this album is simply glorious. Well, it’s been a long time in is its realisation and, finally, the third Damanek album is nearly upon us. It will physically be released on the 13th of January 2023 and I can envisage big success for the band with this fantastic collection of songs, eight in total, in two distinct sections. Part one has seven songs of middling length and with various themes, part two is one thirty minute epic, consisting of five parts, which is an exploration of alternative realities and time travel.
The band consists of a core unit of Guy Manning (lots of keys, lots of acoustic instruments (guitar, mandolin, bouzouki), percussion and vocals), MarekArnold (saxophone, keyboard) along with Sean Timms (keyboards, vocals, percussion, mixing and production duties). They are aided by a veritable who’s who of modern Neo-Prog. These include half of Southern Empire, that’s Cam Blokland on guitar and Brody Green on drums, also present are Ralf Dietsch of Cyril, Jonathan Barrett (ex The Tangent bass player), Riley Nixon-Burns (trumpet) and Linda Pirie on flute and piccolo.
Together these folks make truly special and spacious music that has a familiar feel alongside new sounds and textures. The music is rich and lush with melody woven strongly throughout. It is an album that will draw you into its orbit and will give you a satisfying musical journey that will take you from Mount Everest through the Great Barrier Reef , an American heartland and finally on a journey into a world of memories, hopes and desires. All are to be discovered within it tracks so buckle up for the ride of the month if not the year, such is the strength and stature of this album.
The albums first track is A Mountain Of Sky, a song about that most famous of summits, Everest. The sound is very clever in that it captures and conveys Tibetan sounds and is very evocative of that area, the song has a driving beat and rhythm to it and is as epic as the mountain itself, with a strong chorus and some strong guitar lines woven within its running time. The soundscape is everything you could want from Damanek making this epic track a superb statement of intent and it bodes very well for the rest of the album. The ethnic feeling percussion, woven with the expressive sax work of Marek Arnold, is a joy to hear and means this song really has a swing and a groove to it, even the cod reggae section works well. There is so much to enjoy before the song ends on a graceful guitar break, simply a brilliant opening to the album, it’s fabulous stuff. Back2Back is about how humanity has pushed the world into a difficult situation regarding the climate of the earth and its repercussions for us. There are very thought provoking lyrics within this song and there is also a further fantastic guitar solo. Noon Day Candles is a plea for a fairer share for all and contrasts our scientific and technological achievements with our unwillingness and inability to feed the worlds children. This is a very fine song and whilst it’s words are earnest and challenging the music is well balanced with the questions and pleas the song asks and raises.
This album is proving to be challenging in its subject matter and lyrics, never a bad thing in my opinion, it is good to have to think about these issues. Americana is a song about a fictitious American farm in the heartlands that is struggling with the demands of the present age, climate Change and poverty. Farming is not easy as anyone who has watched Clarkson’s Farm can attest, the song is short and direct.
There are then two songs of the sea interrupted by a song about dementia, In DeepBlue (Sea Songs Pt.1) is a very personal one for Guy as it about his youngest son who, despite having Asperger’s, decided whilst on holiday in Greece to go scuba diving. This song is Guys musings on his bravery and determination to have a go at it. He managed to accomplish his goal and this made Guy very proud of his son’s achievements. Reflections On Copper is a more sobering song, focusing as it does on the increasing number of people who are being affected by, and living with, dementia. Dementia is a cruel illness and disease that can take many forms, I personally am affected by vascular dementia as the result of a stroke meaning my neural pathways have been damaged by the stroke and whilst that dementia is mild at the present time, it may not stay that way, only time will tell so the sentiments expressed are certainly relevant to my own life. Crown of Thorns (Sea Songs Pt.2) is about how the Great Barrier Reef is being affected and how, again, climate change is affecting the balance with an increase in the Crown Of Thorns starfish who normally eat that faster growing coral which gives slower growing species an opportunity to catch up. Climate change has affected this though as the coral eating starfish have increased in outbreak proportions. This song concludes the first half of the album
The second section is the multi part Oculus, split into an overture and four acts. This is a very interesting and somewhat difficult song to digest but is best heard as a complete track (about thirty minutes in total). The song is about alternate dimensions and realities. This is a most interesting concept and this piece reflects that curiosity in a very well balanced manner. It is also a cautionary tale in that we can hear a warning that we perhaps need to heed and to consider. Of the four acts One is the scene setting, Two is the adventure, Three is the consequences of the action and, finally, Four is the redemption and return to normality. The song is epic and the story is illuminating and yet cautionary at the same time. The music in all acts is subtle and exciting and the piece ends with urgent horns and a dazzling guitar solo that bring it all together in a gracefully and satisfying manner with a well executed door slam to conclude proceedings.
This album has so much to commend it, great subject matter, challenging & thoughtful lyrics and superb & inspired playing. It certainly is a winner to these ears, a sublime, intelligent and articulate work of art, I urge, nae demand, you to pay attention and add it to your listening pleasure.
Verbal Delirium are a Greek progressive rock band who formed in 2006. They have released four albums to date ‘The Imprisoned Words of Fear’ (2016), ‘From The Small Hours Of Weakness’ (2013) and ‘So Close And Yet So Far Away’ (2010), with ‘Conundrum’ being the latest, and second with Bad Elephant Music. This release is definitely interesting, mixing heavier elements with articulate vocals and sounds to create great music. This is my first exposure to the band and here are my thoughts on the album.
The album has eight tracks which vary in length and in style, ranging from brief vignettes like Falling with its Saga like sounds, especially in the vocals by Jargon, through to epic pieces like The Watcher and Neon Eye Cage, which are both over nine minutes in duration. Musically the sounds range from semi-choral to Beatles-like parts, elements of prime Queen through to jazzy inspired sections with saxophone and clarinet and violin and epic, partially ambient, soundscapes all tied together with a solid rock beat and groove. All this together makes for a unique and satisfying listening experience. The team of Jargon on vocals, George Pagidas on bass, Stratos Morianos on keyboards, Vasilis Armaos on drums and GeorgeKyriakidis on guitar are a sensationally tight and focused unit who together bring this great music to life.
This jazzy element is most clearly espoused in title track Conundrum which really has a bounce and a spring in its step. Likewise, The Watcher also impresses with its use of Hammond Organ to swell the sound along with its Saga like vocals and the fiery guitar of George Kyriakidis, whose playing enlivens and grabs the attention throughout the track. The song is epic in style with a growing intensity that runs through the track. It’s a song you need to hear for yourself as it really makes a statement for the band, showing their dexterity in the composition and their skills to realise the piece. It really is a slow burner of a track but certainly impresses me, as does Neon Eye Cage, which opens with gentle electric piano and a graceful vocal from Jargon sounding not unlike Mika on this section. The song gains both pace and power with a unique guitar and keyboards exchange taking the song forward. I really like this sound, it’s different and fresh sounding, adding great dynamics to an already intriguing sound palette, there is also a fine guitar break at the six minute point which I find very melodious. This ends with strong bass and keyboards before resuming again to reach greater heights with more doubled guitar lines moving to the piano to take us to the end. The return of the electric piano tones and even more ‘Mikaesque’ vocals conclude this most fascinating piece.
Fall From Grace is the album’s last track, this reintroduces the Saga like vocals over graceful piano lines and orchestrations before a sturdy drumbeat begins. This song is a slower paced track but it has a strong melody and is very impressive sounding with another scorching guitar break lifting the track significantly. The guitar is very expressive and striking with lots of space and time allowed for it to soar as the song plays, it is all rather fine really. The vocalist Jargon is fabulous on this album and his vocals are both clear and strong with great phrasing and articulation and these really do make an impression.
I would say this album is rather fine indeed and is a grower that warrants attention and one that really is deserving of a wider audience. The prog world can be very insular at times and its fans can sadly be closed to great new music. Hopefully they will discover that which can be heard on this very rewarding album. I was certainly taken with it and can recommend it to open minded music lovers, it is highly impressive and deeply rewarding.
This album has been quite a long time in arriving so its title, ‘Evolver’ is very apt. In real terms this is the follow on from the Valdez album, ‘This’, from 2017. Their plans for recording the follow up were drastically altered, initially by a line up change and then followed by the impact of the pandemic, which meant everything changed. The result being a name change for the band to Tribe of Names. ‘Evolver’ is the delayed result and what an album it has turned out to be, the new line up and name seem to have worked out well as this album is full of genuinely progressive music and some fine tracks.
Opener Tribe Of Names begins like an 80’s synth pop number but this is soon replaced by some solid bass lines and jangly guitar then latterly by some solid, meaty guitar riffery and an epic soaring guitar line which is all underpinned by that funky bass line and that’s all in the initial 3 minutes of starting! This is solid and exciting music to hear, it has lots of Rush type elements and guitar playing reminiscent of Alex Lifeson. I believe guitarist Karl Eisenhart started by learning Rush songs and still plays in that style, well he certainly learned his chops! The song is a great one with lots of odd time signatures and a great solo from Karl that plays toward the end of the track, a very strong opener. They Live To Cry is a more subdued piece, again this has elements of Rush running throughout but is all so well handled that it doesn’t really matter, This in not a tribute though, more it feels influenced by Rush, although not overly so. The song has great melody and music and I really like it.
Liar Liar has a strong and dominant bass part with touches of guitar arpeggios and linear playing. This is a shorter but no less interesting track and is great sounding too. Everyday Hauntedis another brief track filled with sustained guitar tones over a swelling keyboard, an echoed vocal adding menace and interest. This is an intriguing piece of music with tremolo guitar notes adding to the weirdness, all very strange but brilliantly so. We are then back in somewhat familiar territory with White Nile, a track that builds in intensity with lots of drum crashes and rumbling bass over guitar tones that could be straight out of La Villa Strangiato, another great track to be influenced from. The strident opening part gives way to a more mellow section of moody music, this is a highlight of the album thus far, excellent performances and solid and inventive playing from all parties.
The Last Unsung Girl is slightly different with a quirky sound, rhythm and melody. Coupled with its mixed time signatures this is certainly distinctive and yet oddly compelling with a great guitar line after which we get a funky bass and guitar section leading to a fine solo from Karl. This is an album whose songs will creep up on you and take a real grip on you, it’s certainly stirring stuff. Mayfly is another guitar led piece with more crunching guitar lines underpinned by a sympathetic bass. There is much beauty to enjoy here, it is very accomplished and well delivered by the band and another somewhat satisfying song. The final and longest track, Dirt On The Inside concludes this excellent album with its extended run time giving lots of room for the music to evolve without constraints, the slower opening section being allowed to build in its intensity for the initial four minutes. This leaves you waiting for the track to explode into life, which it does around the four minute mark where the guitar line surges forward with power in a dramatic manner before some solid bass runs are joined by guitar unison lines with tremolo again. The pace increases again to another excellent solo with the band firing on all cylinders. This is a most impressive track with lots going on musically and it all sounds really effective, there follows a slower, less intense, part which allows guitarist Karl to play some sustained guitar lines before reprising the earlier solo as the song draws to a solid close.
This album should appeal to folks who miss Rush as it explores similar territories. Overall, this is a very strong and musically diverse album with powerful statements and an excellent sound. The sleeve by Mark Buckingham is also very noteworthy and interesting, I heartily recommend this great album.
It doesn’t seem to be that long since the Arc of Life debut album that introduced the world to the venture formed by Billy Sherwood and Jon Davison of Yes, along with Dave Kerzner and Jimmy Haun on keyboards and guitar respectively. Well, this album is more ‘Yes’-like than the previous record was and I loved that album. ‘Don’tLook Down’ is more familiar sounding with Jon Davidson being in especially good form and giving Billy Sherwood a fine platform for his inner Chris Squire to shine through, as it does here on the opening track Real Time World. This song has quite a nod to Tempus Fugit from Yes’‘Drama’ album and features a rather muscular bass part to propel the track along with some spacey guitar lines from Jimmy that together add up to a very strong and engaging piece from all concerned. When you add Dave Kerzner’s epic synths, you have an excellent slice of this latest Yes offshoot, in fact if Yes decided to call it a day, Arc of Life could quite easily fill that particular void easily and would continue to create challenging new music of their own, as this album of six tracks can testify. I really like this song and feel its authenticity is commendable in being ‘Yes’ like without being derivative and it has enough of its own strength to warrant attention on its own merits.
Don’t Look Down follows and has strong vocal harmonies and a suitably gracious guitar line from Jimmy. Again, Jon sounds flawless on this song and much attention to detail has been used here to make a truly harmonious sound, creating a memorable song with a strong chorus. All Things Considered is quite a funky little piece with excellent bass runs from Billy and good keyboards from Dave, although it’s tone is a little lighter in touch. There is a lot happening musically within its five minute duration, including a very ‘Howe-ish’ guitar tone and solo that has touches that Steve would be proud of. The track is fairly understated but has substance as does Colours Come Alive that follows. this is a brooding track that slowly builds into its intensity and depth until towards the end where it gatherers pace and intensity. It’s another good song with great keyboard textures and tones, a fabulous guitar section from Jimmy and an elegant bass section towards the end that captivates you.
The penultimate song, Let Live, is another mid length track that opens with dynamic guitar and bass parts and has a strong rhythm to it. It is satisfying to hear this band firing on all cylinders and with heaps of energy. This is a faster paced song with much urgency to it. Again. the bass is fairly pivotal to the track and it is welcome for that alone, it really is good to hear the energy and craft to these songs as this bodes well for the future of the group. Maybe this will have an impact on the activities of their parent group, giving them some much needed impetus to their own activities? Arc Of Life concludes the album and is the longest track on the album which gives lots of room for some interesting musical passages. This is definitely the case for the opening minutes of the track which again include some powerful bass playing, something the main Yes band has been missing for a couple of years now, Billy’s bass growls like a wild bear on the prowl and it really makes the overall sound full and prominent. The song moves through several phases but with that prominent bass running throughout, reminds me of Awaken from ‘Going For The One’ for some reason. Jon is in very fine voice once more, this track is really impressive and it certainly has the time to explore its sound, making this an intriguing conclusion to Arc Of Life’s second album, will there be a third? That remains to be seen but, hopefully, there will be a positive enough response to this album that will encourage further activity.
