Review – Moon Halo – Together Again

Moon Halo’s 2nd album ‘Together Again’ is set for release on 14th March. The 70 minute/13 track album has been almost 2 years in the making and has been put together by the same creative team that released debut CHROMA in 2020: Iain Jennings (Mostly Autumn) keyboards, Marc Atkinson (Riversea) vocals, Dave Clements (Riversea) bass, Martin Ledger (Heather Findlay Band) guitars, Alex Cromarty (ex- Mostly Autumn/Riversea) drums and Anne-Marie Helder (Panic Room) additional vocals.

As most of you will know, I have always been a big fan of the vocal talents of Marc Atkinson, be it with Riversea, his own solo releases or the first Moon Halo album. He has one of those distinctive voices that I just love and, when combined with the array of musical talent that constitutes the make up of Moon Halo, you just know you are in for something rather special.

Well, on ‘Together Again’, I think they have hit the motherlode, so to speak. This is, in my opinion, the best thing that Marc has ever been involved in and just a wonderful release. Iain Jennings’ keyboard skills are consummate, Alex Cromarty and Dave Clements combine to deliver a rhythm section of the highest quality and Martin Ledger is on fire with his guitar.

All of this would be a moot point if the songwriting wasn’t up to scratch and, thankfully, on this album, it is properly top drawer. Opener Light In The World gives a really upbeat start to the album, Together Again is a really funky track where the keyboards have an excellent vibe to them, a properly grin inducing piece of music. Embrace This Life is anthemic, moody and brilliant and makes it obvious, only three tracks in, that the band have delivered something special.

While the album may have been created by musicians with a progressive rock background, it isn’t what you’d necessarily call a prog album, it is just a great album where the music does the talking, led by Marc’s velvety smooth vocals. That’s not to say that there isn’t seriousness to the music, take If This Is All There Is, a sombre, almost melancholy tale that is delivered perfectly. We’ve Still Got Time, an ultimately uplifting track that tells us that we shouldn’t give up and one that just bleeds wistful serenity. Wasteland is a powerful statement underpinned by the excellent keyboards once again.

There’s a calm reassurance from the music that Moon Halo create, they are storytellers of great skill and class and musicians of no little skill, combine this and you get tracks like Reconnected, emotive and passionate and ultimately consoling. Fancy a bit of 80’s soul? About Me And You has that brilliant piano note and wah-wah guitar that takes you back, it’s just a superb track and one of my favourites on the album, Marc once again proving he has the voice for any genre and Martin given free rein on a superb guitar solo. The genuine, thoughtful feel of Stories To Tell backs yet another elegant and impressive track and there’s a fluid grace to the funky, soul infused delight of Back To Normality.

It Was You has a childlike innocence and Sandman Is Waiting a darker, more deliciously chaotic note. The album closes with the bluesy Life Goes On, an inspiring song that wears its heart on its sleeve and has an overarching deep south Americana soulful feel to it and is a perfect way to finish the album.

Moon Halo have returned with an album full of impressive, heartfelt songs that just leave a smile on your face. It is one of the best releases I’ve heard this year so far and one that the band should all be rightfully proud off. Hesitate no more, just go and buy it!

Released 14th March 2022

Order direct from the band here:

Moon Halo (moonhalomusic.co.uk)

Foxtrot at Fifty – Interview With Steve Hackett – John Wenlock-Smith

Photo by Tina Korhonen, all rights reserved

It is always a pleasure to spend time talking with Steve Hackett, he is such a gracious interviewee and always has interesting things to say and learn from. This interview is about his recently announced uk tour that will see Steve and his band playing the Genesis album ‘Foxtrot’ in its entirety, along with various other classic Genesis material and some of his own solo material from the ‘Surrender of Silence’ album from last year.

John Wenlock-Smith – Good Morning Steve, so how are you sir?

Steve Hackett: Oh I am all right, I’m fine. How are you doing? We have just come back from a few days away on Dartmoor.

JWS – Dartmoor – bit cold for that surely?

SH: Well it was a bit nippy, yes but, what a fabulous place, very mysterious really. I have been in London mostly but we are off to see Jo’s sister (Amanda Lehmann) and her family in Norfolk at the weekend. I like Norfolk and enjoy going there really as I enjoyed Dartmoor too, all the standing stones and stuff, it’s all unusual really.

JWS: Very bleak?

SH: Yes, but you do not get the feeling of being alone or uninhabited, you can sense the spirit’s presence.

JWS: So Jo’s sister, that’s Amanda isn’t it?

SH: Yes, along with her Father. Where she is in Norfolk, there is a fabulous tearoom there does great cake too, so we will be heading there I think, it is in a place called Haven and I recommend it highly, its fabulous.

The last time I was in Norfolk I bought a Mandolin, so I have been dabbling with that in advance of the European leg of the ‘Seconds Out’ tour. I have also been finishing off a live album that captures the ‘Seconds Out’ tour that we recorded in Manchester at the O2 the old Apollo theatre. Then, later in the year we start the next tour, ‘Foxtrot at 50’.

JWS: How can it be that that album was 50 years ago? Barely seems possible really!

SH: Yes indeed, hardly bears thinking about that 51 years ago I joined Genesis on that journey and look where it taken me. It is incredible when I stop and think about it all.

JWS: I had always hoped I would be retired by forty after having had a hugely successful music career but, sadly, that was not to be.

SH: It’s never too late!

JWS: It is for me, after my stroke I can barely play the guitar these days. I have tried learning the piano, but I am nowhere near on that either.

SH: Did your stroke affect your ability to play?

JWS: Yes, I have weakness on my left-hand side. I have a friend who also had a stroke and he has the same difficulties and is very frustrated by it really. I am less so, but I would say check your salt intake and your sugars and check your blood pressure regularly. Strokes strike without warnings. Get the message out about the dangers of strokes.

SH: I think us men tend to be poor at taking care of ourselves, thinking that we are invincible when we are not at all, thanks for the warning.

JWS: The ‘Foxtrot’ tour is playing at Buxton Opera House?I think I might try and see you there. I have never been to a concert in Buxton, I was Going to see Asia there but that did not happen, although I did see a puppet show there many years ago with my children.

SH: I am trying to think of something witty to say about music and puppets but failing, it’s cultural gap between the two!         

JWS: So ‘Foxtrot’, that means we will get Suppers Ready, Watcher Of the Skies, and Can-Utility etc.?

SH: Yes, ‘Foxtrot’ is an incredibly special album, all killer no filler as it were. Certainly one I am immensely proud of still. I do not think there is a duff song on the album.

JWS: So, after that, what will you do next as you will have done most of those Genesis albums (apart from ‘Trick of the Tail’)?

SH: Well I have always tried to do the best and not any of the dross, so I reserve the right to do that still. I want to concentrate on the good stuff and not just do anything lesser really, keeping the flame alive as it were. We all know what the classics are, don’t we?

JWS: So, have you had chance to see your old colleagues this time around?

SH: No, I have not as I was on tour at the same time as they were doing the rounds sadly, I hear that they’ve have done well though.

JWS: Yes, we saw them in Liverpool in October and they were fantastic, so much so that we are going to see them again in London in March as a Christmas present to each other. A few days at a hotel in Tring then Genesis on the Friday evening, should be good.

SH: Yes, I hope you enjoy that then, last time I spoke to them Mike Rutherford thanked me for keeping the flame burning for them. I would like to think that that helped them decide to do this last lap, as it were.

I spoke to Peter (Gabriel) recently and asked him if he had heard that Ian Macdonald had gone and he said that he had not but that he was a fan of his work. Peter and I were born a day apart from each other and it is always good to catch up with each other.

JWS: It is getting easier now?

SH: Yes, touring was interesting but, as we were in a bubble, we could not meet anyone.

JWS: We have got to look after everybody as much as we can, those Lateral flow test s are a pain though.

SH: Yes, but we have got to do it really, the best for everyone.

JWS: So, have you been working on new material at all?

SH: Yes, I have been fiddling with a few things, refining, and polishing things a little. It is a balance between immediacy and a polished performance. Bill Wyman says that blues is the more emotional side of improvisation.

JWS: I saw your brother John in Bilston recently, he had Nick Fletcher with him, who was on fire, incendiary. They were incredibly good indeed, I really enjoyed them a lot.

SH: I will tell him that when I next speak to him.

JWS: Anyway Steve, my time has gone so I will let you go and hopefully see you in Buxton on the ‘Foxtrot At Fifty’ tour!

SH: Thanks John, take care of yourself and keep well.

 

Review – D’Virgilio, Morse & Jennings – Troika – by John Wenlock-Smith

Neal Morse is a highly creative chap with his fingers in many different pies and always has something that he is working on for future release. He loves to have a project in the works and now he has crafted a different colour and sound palette of music for all to enjoy although ‘Troika’ is a bit different in that it a very song based album, mostly acoustic guitar led with occasional hand held drums. He is joined by former Spock’s Beard, and current Big Big Train, drummer/vocalist Nick D’Virgilio and Ross Jennings from prog metallers Haken.

The music is very vocal led, Crosby Stills & Nash are a good reference point for the sound the trio make together, they really bring the songs to life, getting it right by offering strong songs with simple but sympathetic playing and this really brings dividends. In addition, the vocals are all clean with the lyrics being very clearly heard, the lead vocals being shared between the three, which also really drives home the strength of the material that the trio offer.

This is another product from lockdown and on that has used the time to favourable effect. The music is relaxed and yet melodic with delicate guitar lines and keyboards in the mix and an overarching requirement for the songs themselves to be the main emphasis and focus of the album. This is a bold decision for these men to take but this vein they mine here really is something both different and unexpected with fine and good musical moments. The combination of voices is both magical and musical and a high point for each of them. The fantastic percussive opening to Everything I Am sets their stall out well, as does the delicate piano during Julia and the acoustic guitar frenzy at the end of the song that closes out the song.

Some will say the songs are not really ‘proggy’ but that does not really matter when the material is as strong as this. The whole album bristles with energy and excitement and this is a spectacular set of material. In fact, this is such a positive and uplifting album to listen to and the more you hear it the more you can appreciate the craft that these people have invested into this project and you see how special this album really is. In days when the news is bad, and everyone is ‘down’ this album is a real Tonic for that condition. On any level this is a fine album, there is so much to enjoy in each performance, the more I hear it the more I want to hear it again, it really is that good!

This is one album that you need to listen too, preferably in an open top car cruising down the road by the coast as this distils summer and sunny days into a musical companion, it evokes that kind of mood and is an album to treasure and to return to repeatedly. I take my hat off to these three remarkable artists who between them have delivered what will certainly be on my albums of the year list, no mean feat for an album only released in February!

Let us have a closer look at what makes this album so good;

I think, for me, it is the sheer unbridled joy that emanates from these grooves that make you feel so happy and that really works so well, as does the way in which the harmonies all gel together so remarkably, like three old friends reuniting. The albums strength lies in its simplicity really. This is not some multi-faceted soundscapes of music, this is music stripped down to its barest components, voice, acoustic guitars and percussion. Although there are keyboards on some tracks, this is certainly a less is more approach that the trio have taken here and that is an approach that pays big dividends, understatement being key as it leads you to focus on the fantastic voices of the three men.

Julia is a stand out track, an absolute corker, with delicate harmonies and clever backing vocals and counterpoint lines from the delicate piano of Neal Morse, this song really shows the depth of vision the trio possess and offer, this is gorgeously performed and delivered by the three. It’s a standout performance and when you consider that this was all recorded remotely, even more impressive really! You Set My Soul On Fire is also another excellent piece of music, one in which the trio offer enough space within the track to really allow the song to breathe, most fabulously.

I cannot recommend ‘Troika’ highly enough, this is an album that is most worthy of your time and attention and you too will discover this masterpiece for yourself, it is fabulous, it really is.

Released 25th February, 2022.

Order from Burning Shed here:

Troika (burningshed.com)

The Flower Kings launch new single “Revolution” 

Third track from upcoming album ‘By Royal Decree’

Prog icons The Flower Kings are set to release their 15th studio album ‘By Royal Decree’ on the 4th March 2022.  Now, the band are pleased to share the third single from the album, “Revolution”. Watch the video here:

Roine comments:

“The songs on the new double album come from a whole lot of different places in time and space, often a combination of themes gathered from older ideas born before The Flower Kings emerged in 1994, mixed with brand new ideas. 

’Revolution’ is that kind of a song; a mini epic that is reflecting a number of themes spanning this album, cinematic and sometimes bombastic. A celebration of creation and the evolution, making the world what it is, through the million years of  fire, brimstone, ice ages, floods, devastation, pain and finally….. beauty, colors, flowers, the vast oceans of life and new life out of the darkness & raging volcanos. The miracle!

The song is yet another piece of the larger scale composition that is ‘By Royal Decree’ – a sort of modern 2022 Rock Opera if you will. A landmark album from this band that we’re all incredibly proud of!”

‘Revolution’ also features a guest appearance from Jonas Lindberg, who plays bass on this track.

Listen to the album’s first single “The Great Pretender” here: https://youtu.be/03NFABil4yo

Watch the video for the second single “A Million Stars” here: https://youtu.be/k0RiSF1Lwac

‘By Royal Decree’ Tracklisting

1.The Great Pretender (6:55) 

2.World Gone Crazy (5:04) 

3.Blinded (7:45) 

4.A Million Stars (7:11) 

5.The Soldier (5:23) 

6.The Darkness In You (5:13) 

7.We Can Make It Work (2:48) 

8.Peacock On Parade (5:15) 

9.Revolution (5:59) 

10.Time The Great Healer (6:12) 

11.Letter (2:25) 

12.Evolution (4:47) 

13.Silent Ways (5:01) 

14.Moth (4:31) 

15.The Big Funk (4:39) 

16.Open Your Heart (5:17) 

17.Shrine (1:08) 

18.Funeral Pyres (7:14) 

‘By Royal Decree’ will be available as Ltd. 2CD Digipak, 

as Ltd. 180g 3LP+2CD Box Set as well as Digital Album. 

You can pre-order the album now here:

https://theflowerkings.lnk.to/ByRoyalDecree

The band are back at their most creative, flowery and playful – mirroring the 70’s melting pot of folk, symphonic, electronic, jazz, blues, funk & prog. On the new album they have looked for more organic and vintage sounds, still centered around the foundation of drums, bass, guitars and the iconic Hammond, grand piano, mellotron & Moog synthesizers.

The album also sees the return of founding member Michael Stolt, who takes up bass guitar and vocals, alongside the line-up of Mirko DeMaio on drums, Zach Kamins on keyboards, Hasse Fröberg on vocal & guitar and Roine Stolt on vocal & guitars and Jonas Reingold on bass. The band convened in the middle of 2021 at Fenix Studios in Sweden to record through the fully analogue Rupert Neve mixing desk. The album also features beautiful cover art, once again created by Denver-based artist Kevin Sloan.

This year’s tour will also see the band revisiting their early years, performing tracks from ‘Retropolis’, ‘Stardust We Are’, ‘Flower Power’, ‘Space Revolver’ and ‘Back In The World Of Adventures’. This will coincide with the release of newly remastered editions of The Flower Kings albums on CD & Vinyl later in 2022. The first confirmed live dates are as follows: 

30th March 2022 – Katalin, Uppsala, Sweden

31st March 2022 – Musikens Hus, Gothenburg, Sweden

1st April 2022 – Södra Teatern, Stockholm, Sweden

1-7th May 2022 – Cruise To The Edge, USA

11th May 2022  – Imperial Bell, Quebec City, Canada

12th May 2022  – Club Soda, Montreal, Canada

14th July 2022  – Rootsfestival, Notodden, Norway

4th Sept 2022  –  HRH Festival , UK

Lobate Scarp To Release Second Full Length Album – ‘You Have It All’

Progressive-rock band Lobate Scarp will release their second full-length studio album You Have It All on April 1. It serves as an expansion to their 2019 EP Spirals and Portals. Progressive rock fans will appreciate the 17-minute finale “Flowing Through The Change” and the 14 1/2-minute title track featuring guest vocalists Jon Davison and Billy Sherwood from Yes. Modern prog fans will also enjoy guest appearances from Ryo Okumoto (Spock’s Beard) and Jimmy Keegan (Spock’s Beard, Pattern-Seeking Animals). Also drumming on both epic tracks is Eric Moore (Suicidal Tendencies, Infectious Grooves).

Rich Mouser, whose mixing repertoire includes Spock’s Beard, Transatlantic, Neal Morse, has once again mixed the album, and has played even a bigger role as co-producer and additional musician on several tracks. Steven Leavitt, producer of Lobate Scarp’s debut album Time and Space, has also returned to co-produce and engineer. The album will be available in a high-res digital format as well as a limited edition glossy CD-booklet including 16-pages of lyrics, art, and liner notes. This is the third Lobate release with a front cover created by David A. Hardy, infamous space artist. The album is currently available to pre-order at Indiegogo / gotprog.com.

Lobate Scarp is a progressive opera-rock band based in Los Angeles. Their influences range from classic prog-rock of the 70’s such as Genesis and Yes, to 80’s pop such as Duran Duran and Tears for Fears, as well as strong ties to musical theater. Their debut Time and Space has had positive reviews published in numerous music publications and websites such as Prog Archives, Empire Music, and Yes Music Podcast. Online blog, Progarchy called Time and Space “one of the top 13 albums of 2013”. The band is scheduled to perform at this year’s RoSFest, one of America’s premiere progressive rock festival which will take place in Sarasota, Florida.

Geoff Proudley To Release New Album About Katherine of Aragon

March/April 2022 sees the release of ‘K of A’ by Geoff Proudley. A musical portrait of the life of Katharine of Aragon, Henry VIII’s Spanish Queen. K of A is an instrumental album, drawing on orchestral, classical, filmic and rock elements to paint some of the key moments and emotions in Katharine’s life.

As Geoff describes ‘It’s been a three-year labour of love. Starting with an original mysterious Spanish theme that came to me when I was reading about Katharine, I gradually started to write more, fleshing out episodes and moments of her life. I suppose it was a bit like writing for plays and getting inside the characters, what she was feeling and then painting musical pictures of events in her life’. It’s something I find I can do. It usually comes through in what I write, through my subconscious. For this album I think I wrote about 70% of the themes and main frameworks of the pieces in one weekend of piano improvisation. Again, thinking about the events in her life and capturing everything I played into Logic. Then going back and listening to what I had. I often write that way and I find it really productive.’

Geoff plans to release the album on CD at the end of March/early April with a 60 page booklet in a nice presentation package. 

It will be available through his website: geoffproudley.co.uk and digital streaming platforms later on.

Why the Tudors and why Katharine?

“Well, I know they’ve been done to death (literally!). But it’s still fascinating five hundred years later. I mean you couldn’t write it could you? It’s easy to be appalled by the brutality of people and their thinking. But these people thought completely differently to us. Everyone was intensely religious. Kings and Queens had real power and the survival of their dynasties was a matter of life and death lest they be usurped by someone with an equally tenuous claim to the throne!

But I know what you might be thinking. Didn’t Rick Wakeman do Henry’s six wives back in the seventies? Well yes, but that was an album about all his wives. A whistle-stop tour of the matrimonial set. This is purely about Katharine and follows her life from leaving Spain as a teenager to marry Prince Arthur, through her subsequent widowhood and betrothal to Prince Henry. Then her coronation when Henry ascended to the throne and life as queen consort and then queen regent (when Henry was at war with France). It moves on through her fall from grace, her cruel banishment and divorce after failing to provide a male heir, the split with the Catholic church of Rome and her eventual death while under effective house arrest in 1536. It’s been a really interesting project. I learned a lot about her. I empathised with her plight too having been through a divorce myself. That might sound pretentious, but those sorts of emotions resonate through history. They are as real today as five centuries ago”.

Track listing:

Envy Of None Guitar Giveaway!

Envy Of None, in partnership with Epiphone & Gibson Guitars, are giving away an Alex Lifeson Axcess Standard Signature Les Paul guitar to one lucky fan.

Envy Of None, the new band and debut self-titled album from Alex Lifeson (Rush), Andy Curran (Coney Hatch), Alfio Annibalini and singer Maiah Wynne due for release on Kscope on 8th April

PRE-ORDER HERE (https://eon.lnk.to/EnvyOfNone)

Fans will be able to enter the guitar giveaway via a QR code, printed on a ticket inside one of the CDs in the Deluxe Edition of the debut album.

Created through extensive work with Alex Lifeson and Gibson™, Epiphone’s Alex Lifeson Les Paul Axcess Standard similarly redefines the boundaries of the classic Les Paul™ in an accessible package. This guitar carries all of the traditional tones that have made the Les Paul legendary, along with unprecedented levels of sonic and performance versatility.

The Alex Lifeson Les Paul Axcess Standard carries powerful Epiphone Ceramic Pro neck and ProBucker 3 bridge pickups with coil-splitting options via their push-pull volume controls and a Graph Tech Ghost Floyd Rose system that not only provides the world’s most efficient vibrato but is also loaded with Ghost piezo bridge saddles. Access traditional magnetic humbucker tones, mix it up with coil-split options, tap the Ghost’s realistic acoustic tones, or blend acoustic and magnetic voices — the sky’s the limit from this sonic chameleon, whose sound-shifting depths are virtually limitless. You can route it all through a traditional mono jack or use two cables for individual magnetic and piezo outputs. All this and the Alex Lifeson Les Paul Axcess Standard still presents that timeless Les Paul look that has remained a classic for more than 60 years. An EpiLite™ case is also included.

For full specifications, visit  https://www.epiphone.com/en-US/Guitar/EPI7IG849/Alex-Lifeson-Les-Paul-Axcess-Standard/Viceroy-Brown/

Retailing at $899, this is a unique opportunity to win a high spec, unique instrument, developed by Alex Lifeson himself. The giveaway is open to a worldwide audience, and no purchase is necessary outside Great Britain.

For full terms & conditions, head to kscopemusic.com/eongiveawayterms 

Envy Of None’s self-titled album is due for release on April 8 via Kscope.

The album will be released on the following formats and is available to PRE-ORDER HERE (https://eon.lnk.to/EnvyOfNone)

Ltd Edition deluxe version – presented in a gatefold sleeve with a blue coloured vinyl LP, 2 CDs including a 5 track bonus disc, 28 page Booklet with exclusive content (plus QR Code Golden Ticket for giveaway entry)

CD – includes a 16 page poster booklet

LP – on black vinyl / baby blue coloured vinyl (North America exclusive) / white coloured vinyl

Digital

Envy Of None are:

Alf Annibalini – Guitar, Keyboards, Programming

Andy Curran – Bass Guitar, Synthesized Bass, Programming, Guitar, Background Vocals, Stylophone

Alex Lifeson- Guitar, Mandola, Banjo, Programming

Maiah Wynne – Lead Vocals, Background Vocals, Keyboards

Playgrounded release new single ‘The Swan’, new album ‘The Death of Death’ released 18th March (Pelagic Records)

Having played with big neo-prog acts like Riverside, Playgrounded are no strangers to outer limits of the contemporary merging of rock and electronica. Their upcoming album “The death of Death”, released on 18th March, features compositions based from dynamic sound design structures by main composer Orestis. New single “The Swan” sees these glitchy synth textures seep through the negative space between languid guitar riffs and chugging bass grooves. The band comment,

“We share with you The Swan, the track that we have chosen as the opening of The death of Death. The lyrics set the premise for the rest of the album: desperate or fascinating, one’s relation to the world that surrounds us is grounded to the very matter of which we are made.”

Listen to “The Swan” now:

Greece has spawned countless instances of criminally underrated music acts in diverse genres ranging from black metal to electronic to avant garde pop music, and the sophomore album of modern progressive metal act Playgrounded titled ‘The death of Death’ is yet another striking example.

“Where did this come from?” you will find yourself wondering, while absorbing the stunning intensity and musical prowess on display. From the perfection of the production and the inherent innovation in defining heaviness by means of not only downtuned guitars, but also elements of electronica are the pillars of an intriguingly idiosyncratic, incredibly mature sound.

Hailing from Greece, but spending most of their time in the Netherlands, the musical pedigree of the members of Playgrounded is quite unprecedented in the metal/rock underground. Main composer and producer Orestis Zafeirou is a graduate from the Institute of Sonology of the Royal Conservatoire of The Hague, a department focused on electronic music education and production research. Additionally, he works in a synth factory. Vocalist and co-producer Stavros Markonis graduated from the Amsterdam conservatoire and is an award-winning composer for film and TV. Bass player Odysseas Zafeiriou and guitar player Michael Kotsirakis both work as computer engineers, while drummer Giorgos Pouliasis is a graduate from the Rotterdam Conservatoire, as well as a drum teacher and a popular session musician in Greece as well as in the Netherlands.

Starting out in 2007, Playgrounded have been together for over 15 years, playing both national and international tours, while also opening for bands like Riverside and even Nine Inch Nails in Amsterdam. Their first EP Athens (2012, Casket Music) portrays an already mature band playing modern prog rock influenced by Tool and Deftones. Their debut full-length In Time With Gravity (2017) shows the band in full flux, experimenting with extended compositions as well as influences from influential contemporary electronic music acts like Modeselektor and Moderat.

Playgrounded’s sophomore album lives up to the aspiration of its lofty album title. The death of Death is music that results from mastery rather than lacklustre exploration and experimentation. The album was recorded at MD Recording Studios by Nikos Michalodimitrakis, long collaborator of Stavros in film productions. Mixing was handled by C.A.Cederberg (Leprous, Shining, and more) in Kristiansand, NO, while the album was mastered by George Tanderø (Madrugada, Satyricon, Jaga Jazzist, and more) in Oslo, NO.

Demonstrating a profound understanding of the glitches they produce, Playgrounded evoke a sense of the uncanny closely related to the cut-up movie fragments of sound artists like the German Orson Hentschel. 

“We start with dynamic sound design structures, most of the times initiated by Orestis,” explains guitarist Michael Kotsirakis. “We then work in pairs expanding the musical space and creating variations and flourishes. Sometimes the lyrics and vocals will dictate a change in quality, other times it’s one of the instruments. After many ideas are on the table Stavros and Orestis sit together and propose a song structure. After this loop has been repeated over and over we have a very good idea of all the parts. That’s when we hit the rehearsal space and refine the details.”

The result is a collection of songs that reveal Playgrounded as composers in the act of decomposition. The memorable guitar riffs and vocal melodies serve as gateways to a deeper layer of glitchy synth textures and liquid drumming, until the perspective of radical decomposition consumes one whole. 

“The shortest sound units become extended themes,” explains main composer Orestis Zafeirou. “Steady rhythmical blocks interact with unstable ones. Noise becomes tone and melody. Sonic grains gather to form masses, masses dissolve into a single entity. With every repetition, comes change.”

On The death of Death, Playgrounded analyse and take apart their surroundings, reducing reality to its smallest components, subsequently converting them into sound to create a new platform – a representation of reality from which they build their artistic vision. In essence The death of Death is dialectical, a study of unity in opposition. A disclosure of contradictory aspects of reality, an expression of their mutual relationship. From these contradictions the band manages to construct a brooding world of dark magnificence. The death of Death has the appeal of a film score that slowly starts to haunt you as the movie progresses. The more you listen to it, the more its sublime beauty becomes apparent.

Pre-order the album now –  https://listen.pelagic-records.com/playgrounded

FFO Karnivool, Katatonia, Nine Inch Nails, Deftones, Moderat, The Ocean, Vola, Leprous, Skyharbor,

LINEUP 
Odysseas Zafeiriou – Bass Michael Kotsirakis – Guitars Stavros Markonis – Vocals Orestis Zafeiriou – Synths / Sampling Giorgos Pouliasis – Drums

Review – Marillion – An Hour Before It’s Dark

“No matter how corrupt, greedy, and heartless our government, our corporations, our media, and our religious & charitable institutions may become, the music will still be wonderful.” ― Kurt Vonnegut

With ‘An Hour Before It’s Dark’, Marillion release one of their most upbeat albums of their career while, at the same time, they once again do not shy away from uncomfortable topics, reflect on their own behaviour, and put their finger in the wounds of time. 

The band’s 20th studio album, Like its predecessor, 2016’s critically acclaimed and chart-topping album ‘F*** Everyone And Run (F E A R)’, was recorded at Peter Gabriel’s Real World Studios. But, whereas it’s predecessor was more a dark and condemning comment on the government and the bureaucrats who ran the country, this new release deals with the pandemic in a much more hopeful and enriching manner leading to the band calling it their most upbeat album in quite a while.

There’s no getting away from it, a new Marillion album is always a great occasion and a cause for celebration but the release of ‘An Hour Before It’s Dark’ coincides with us hopefully seeing the pandemic diminishing rapidly and a sense of normality returning to everyday life and mirrors this new found feeling of optimism and promise.

I’d been one of the lucky ones who saw the band on their ‘Light At The End Of The Tunnel’ tour (in fact, I saw them on at the first gig in Hull) so my appetite had been whetted by already hearing the wonderfully dramatic Be Hard On Yourself, albeit in a live setting. Nine minutes of intense but fast paced music with Steve Hogarth’s distinctive vocals at the centre of this impressive track, it certainly opens the album in style. Reprogram The Gene delivers a powerful missive with the hard edged guitar and drums driving the song along, aided and abetted by a sharp suited bassline and keyboards. Steve Rothery has been given free reign to deliver some mighty power chords and Ian Mosley delivers an utterly mesmerising performance behind the drum kit. There’s a determined and catchy feel to this song and it resonates throughout the album as the short, sweet instrumental, Only A Kiss segues into the second single from the album, the irrepressibly infectious Murder Machines, a song that was born in the challenging times of lockdown and social distancing and has become so much more than just a mirror of our times, more than a song that deals with the precious as well as dark sides of human relationships. Steve Hogarth is in fine voice, especially on the buoyant chorus and Rothery’s guitar just sings perfectly.

Three songs into the album and I’m already hooked, it’s a record of, and for, its time, emotive and emotional and that is felt throughout the wistfully brilliant The Crow And The Nightingale, a nostalgic nod to Leonard Cohen and one of my favourite tracks on the album, one that just flows beautifully and shows the band’s thoughtful and contemplative side impeccably. That reflective tone carries on into the sublime Sierra Leone, another great song that sees the band in a storytelling frame of mind. This is a set of musicians who are playing at a ridiculously high level and delivering some of their best songs of a long and illustrious career, a band who are comfortable with themselves and their music and it is really obvious. This track builds gradually, the tempo increasing almost imperceptibly, before Rothery’s guitar breaks out, accompanied by Hogarth’s ever more dynamic voice. There are lulls as it ebbs and flows elegantly, always holding your attention, a fine piece of music indeed.

This superb and entrancing album comes to a close with one of Marillion’s finest ever tracks. In a long career of superlatives Care has to be right there at the top, a three part song that plumbs the depths of despair before rising through to end in promise and optimism. Pete Trewavas shows he is still one of the best bass players around and Rothery’s guitar is just transcendent, he really is at the top of his game. Mark Kelly delivers some bewitching keys throughout the album but none more so than here. This track really showcases the band’s impressive song writing abilities. Impassioned and passionate and, ultimately, uplifting, it is, possibly, the most perfect song they have ever written.

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.

Released March 4th, 2022

Order from the band here:

Marillion Album 20 Official Pre-order Store (ear-music.net)

Review – PsychoYogi – Digital Vagrancy – by John Wenlock-Smith

For those who don’t know, PsychoYogi are a jazz fusion / progressive rock band led by the incredibly talented Chris Ramsing who plays guitar, writes the songs and also sings them! Chris is clearly influenced by the likes of Frank Zappa and many other left-field musicians. He is a very skilled player and uses the band’s musicality to express his thought and viewpoints. The music can be a bit cerebral and clever and can take a while to get into as it requires the listener’s effort too, what can seem to be a bit obscure will eventually begin to feel familiar and friendly, if you are prepared to make the investment of time and effort.

PsychoYogi have joined the roster of artists that appear under the Bad Elephant Music label banner, which is a good home for them and should expose them to a far wider audience. Their talents should begin to get the recognition that they deserve, after several years of self-released albums like ‘Accident Prone’, ‘Consumption Wheel’ and ‘Chase the Bone’, along with last year’s ‘Dangerous Devices’.

The latter was a good template for this new album ‘Digital Vagrancy’, a release on which, you will be glad to hear, the band’s normal wackiness and weirdness continues unabated, which, in the madness of this present age, is certainly both a boon and a relief and is very welcome. This is music to challenge and to experience for yourself, in amongst the weird time signatures lurks a good sense of both humour and of the absurd. This is clearly shown on tracks like Wonderful Place with its strong bass lines and with Chris’s fluid guitar taking centre stage, its freewheeling form scoring highly. There is also a deft lightness of touch to many of these tracks which shows how well the band are gelling as a unit these days, brass, horns, bass and guitars are drawn together, all underpinned by the bass of Izzy Stylish and the drums of Justin Casey.

The album opens with Guiding Light, all gentle noodling from Chris along with good syncopation from Justin’s drums, which splash gently across the muted tones of the sax of Toby Nowell. This is all very eloquently overseen by all concerned with a strong jazz fusion leaning and a jaunty tone, yet it’s still accessible listening and not just for jazz buffs. A Dangerous Path opens with some horn interplay, which sets the scene well for the languid jazzy rhythms at play. Here the music and vocals actually put me in mind of Greenslade for some odd reason but, if so, that’s a good comparison to have really, as they are nothing like each other at all but the mind is a strange thing at times and I guess years of stored music came to the surface there.

The River follows and has prominent bass to open followed by eloquent sax. Again, this mellow song works well hinged on bass and delicate drums with guitar chords at play and a brief jazzy guitar break from Chris really hits the mark. Wonderful Place is up next and opens with a long, fluid guitar line laid over busy drums and more of those strong bass lines. Shimmering guitar chords play over the track and are joined by more sax lines, add in an almost ethnic sounding percussion segment and it becomes very jazzy. This is sublime and superb at the same time, an enjoyable track with lots happening in its three-minute window.

Distant Bell follows with more delicate guitar lines and subtle bass lines, the horn and sax parts helping this sound really swing. This album gets better the more you play it and you begin to realise just what a joyfully crafted it really is as well as being imaginative and boldly creative. Everyone gets a chance to shine, and they all do throughout this fine track. Next Track Salvation has a smoky sounding opening, murky and effective sounding, before the vocals start. The song is all about faith and belief and the entire system of such things, it’s an interesting song that asks a lot questions land leaves you to your own conclusions.

Love and Sanity is about the lack of compassion in today’s world, how we are worse for its lack in society, and how we all avoid it as individuals today. It’s an honest, challenging and sobering song at times. Much to Dream About follows and is another questioning song about how yesterday’s dreams have gone and how those dreams have been replaced with negativity, fear and loathing with everybody affected by this change. This is social commentary about the world today and how it has not gotten better but has taken a step or more in the wrong direction.

Innocence for Fear is the last vocal track on the album and offers the observation that we exchange ‘Innocence for Fear’ in this modern age and that we all suffer as a result. Chris is quite forthright in his observations and questioning and why not , these things should be spoken of far more than the subservience and blind obedience that is expected of us these days!

It’s good that albums like this can offer a platform for such views to be considered and, as such, this is an important album and one that is worthy of consideration with its excellent musicianship and challenging lyrics and themes. This music could be described as left-field punk-jazz and I think that is pretty accurate.

Released 29th October, 2021

Order from Bad Elephant Music on bandcamp here:

Digital Vagrancy | PsychoYogi (bandcamp.com)