Review – Riversea – The Tide – by Progradar

“Music is the literature of the heart; it commences where speech ends.”
― Alphonse de Lamartine

What a wonderful quote and it fits perfectly how I feel after listening to the long awaited second album from Riversea, the on/off musical project of my good friends Marc Atkinson and Brendan Eyre.

The music and lyrics that they have written come from their very heart and soul and when it is conceived like like, it has the ability to almost come alive and infuse the listener with all the joy and love that went into creating it. It’s not just music it is alive, vibrant and soulful.

The core band of Marc, Brendan, Dave Clements (bass) and Alex Cromarty (drums) are joined by a veritable who’s who of the progressive rock world adding guitar, flute and backing vocals. Where ‘Out of an Ancient World’ was a spiritual offering, ‘The Tide’ focuses on the realities of living in the world of today with meaningful lyrics adding a touch of social commentary to the music:

“If God can’t save us from his followers, how do we save us from ourselves. If all they see is blasphemy, what will they make of  you and me.”

The opening of The Tide sees Peter Aves powerful guitar give a dramatic edge before the subtle layers of Brendan’s keyboard work adds a real sophistication. This is an album full of exquisite nuances and he distinctive soulful vocals of Marc leave a cultured trail wherever they lead, is there a more emotive singer around at the moment? I think not! These songs are created with layers of beauty and polish and seem to flow organically. There’s a funky edge to Shine that is punctuated by the uplifting chorus and the superb guitar work of Lee Abraham who delivers a vibrant solo.

Marc and Brendan have spent a long time creating this musical work of art, fitting it in around their daily lives and other projects and it is the level of care and attention to detail that stands out across the meticulously crafted songs on this album. I can imagine the painstaking process that went into each note, there is nothing here that doesn’t belong and it makes for a quite wonderful release.

The passionate Blasphemy is another highlight among many with Paul Cusick’s sensuous guitar work adding layers of intensity to what is a really powerful song, the music intense and impassioned and Marc’s voice a commanding presence. Brendan Eyre weaves an absorbing web with his refined keyboard playing throughout this amazing sonic tapestry and the rhythm section of Dave Clements’ bass and the drums of Alex Cromarty provide a suitably assured back drop.

Every track is exceptional, it’s rare to get an album without at least one throwaway song but the songs intertwine perfectly with each other, the wistful and nostalgic Your Last Day sees a wonderful low key and slow burning guitar solo from Robin Armstrong and the silken six string of Simon Godfrey joins the guys on the touching strains of Strange Land, a song that has strong roots music foundations.

The gentle feel of Fall Out Warning is added to by the flute of Tony Patterson to give a contemplative, melancholy atmosphere but there is beauty, charm and artistry to every single song. The sombre overtone of the excellent Uprising is added to by the reflective keyboards and Tony’s ethereal-like flute. Marc’s vocals are almost pleading,

“Their voices will be heard, their chanting becomes one. But a nation stands divided with a bullet from a gun.”

It is a haunting piece of music and one which makes you look inside at your own heart and is followed by the contrast of the gloriously uplifting The Tide Reprise to close the album on a more thoughtful and hopeful note.

There’s been some good music released this year already and also some utterly outstanding albums and ‘The Tide’ definitely falls into the latter category. Marc and Brendan have lovingly crafted twelve pieces of music that come together to create a release of beauty and refinement and one that will stay in your heart for a very long time. It’s not just music, this is something that is actually life-affirming and I can’t give it higher praise than that.

Released 20th April 2018

Order The Tide from the band’s website

 

 

Review – Jet Black Sea – Absorption Lines – by Emma Roebuck

Jet Black Sea: when I got this through my inbox I admit as to being blind to who they were or what to expect, apart from a brief listen to the demos on the band’s Facebook page which was enough to pique my interest.

Adrian Jones’ name popped up and then the penny dropped and the fog cleared with a tinge of familiarity, Nine Stones Close. He is bit of a creative tornado and, like many musicians in the progressive field, prolific in guesting on many other albums. ‘Absorption Lines’ is the second with Michel Simons, the first being ‘The Path Of Least Existence’, released in November of 2013. I did some ferreting around after my first listen through of this one after a very oh my response. Normally the first time I play any album it is to purge out what I have listened to before and get a general feel of what I am listening to musically. I can then flood my mind with the music so all I have is what any musician has created. I never make a snap judgement, I just get a first impression. My first impression here was very much this is special and I immediately flipped back to the start.

Adrian Jones: talent, Michel Simons: cool dance moves”

To the music which is described as experimental, ambient and dark progressive by the guys themselves and that description ispretty much spot on for me. On paper this is an album of 7 pieces of music or songs with guests:

Pieter van Hoorn: drums on Wrong Turn, The Sixth Wheel & Cathedral
Brendan Eyre: keyboards on The Sixth Wheel & Cathedral
Paul van Zeeland: bass guitar on Cathedral
Adrian ‘Aio’ O’Shaughnessy: vocals on Cathedral
Tony Patterson: vocals on Hours Slip Into Days

I am going to say that this is actually one piece of consciousness flowing into the recording and divided up into digestible chunks. It is fluid and connected and thus really difficult to do any song by song break down. Musically the journey is rich, varied and textured with more influences than you can shake a stick at, from the ambient trance dance of The Wrong Turn flowing into the middle-eastern doom chording of The Sixth Wheel, Brendan providing the tonal variation drawing the ear to the Minarets and deserts of the Arab Peninsula and North Africa.

Suddenly we join the crew of Apollo 13 for Jumping to Conclusions and a short ambient Berlin School piece drifting in the vacuum of space with Absorption Lines, which flows into a classic Floydian jam session drifting of guitar, keyboards and vocals.

It continues pretty much in this vein through Cathedral until we have a “brass” song as such, with Adrian O’Shaughnessy on vocals and some very understated but powerful guitar work from Mr Jones. Without missing a beat we find ourselves in Hours Slip Into Days, Tony’s voice is silky soft and sits in the sweet spot at the centre of the melody, carrying you into the void beyond this world. We lapse to the end of 133 hours, the time the world held its breath while we waited for Apollo 13 to return home safely. This is a musical and thematic soundtrack to Houston and the Crew of Apollo 13 conversations. It is electronic music married with understated guitar that is built on pure atmospherics.

The album is a sonic experience and as a DJ I want people to hear this and hear what I hear. Playing a track won’t cut it for me as it misses the rest of the release. It is an album not a collection of songs, it flows and grows from one end to the other filling the listener and drawing them through and into it. I am a lover of the discipline of the album, maybe it is my love of classical and electronic long form music but this sits in the same place. Adrian and Michel are not frightened to go outside traditional structure and style and they understand their art and want to see how far it can go.

Fans of Cosmograf, Public Service Broadcasting, Autechre, Scanners, Pink Floyd, Tangerine Dream, Robert Fripp and Eno will find succour and pleasure in this album. It is individual in its style and is “Jet Black Sea “rather than a version of someone else. I would say this: when you buy this album switch the connections off to the world and spend 45 minutes just letting the music swallow you up, better still, take 90 minutes and go round twice.

Released 30th June 2017

Buy ‘Absorption Lines’ from FREIA Music UK (UK & Ireland)

Buy ‘Absorption Lines’ from FREIA (Europe):

Jet Black Sea – ABSORPTION LINES

Review – Marc Atkinson – Homegrown – by Progradar

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“Music is moonlight in the gloomy night of life.” –  Jean Paul

“Since there is nothing so well worth having as friends, never lose a chance to make them.” –  Francesco Guicciardini

There are two things that are the foundations of my life and they are music and friends. I certainly wouldn’t be the person I am today without either. To me music is not just something you listen to, it is an essential part of what makes me tick and what makes me want to get out of bed in a morning. I only became a music writer because I wanted more people to feel the way I did about certain notes, songs and albums that have become essential listening in my life. Music is what fills those unseen gaps in my universe and makes it complete.

We all need friends in our life and I have been blessed to know some wonderful people and call them friends. Since I started getting involved with music my list of friends has grown immensely and I don’t mean just those people who I’ve never met on Facebook. I have had the pleasure of meeting many musicians and supporters in the flesh and am proud to call them true friends now.

One of the first musicians I met through my reviews and interviews was the vocalist Marc Atkinson, also known as the voice of Riversea. I first met Marc in March of 2014 when he was performing his solo acoustic show in Whitby and where I interviewed him for Lady Obscure Music Magazine and have been firm friends ever since.

Therefore it was a no-brainer when Marc asked me if I would write an early review of his new solo release ‘Homegrown’, in fact I consider it an honour that he came to me first.

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Marc Atkinson is a solo acoustic singer/songwriter. He is also ‘The Voice’ of Riversea and has previously sung with Nine Stones Close, Gabriel, Frontier and Expressions, as well as lending his vocals to the Mandalaband project. He continues to gig heavily in the North of England playing his one man, ‘human juke box’ acoustic shows.

‘Homegrown’ is Marc’s fifth solo album and, along with the help from his partner Tamsin, daughter Enya, friends Andy ‘Rob’ Swann, Bob Fleming, Jack Burge and Brendan Eyre who all contributed performances on the album, it was finally finished in October 2016 and will be released on the the 21st of November 2016. Alongside Brendan Eyre and Dave Clements, Marc is currently working on the 2nd Riversea album, entitled ‘The Tide’, which is due for release in spring 2017.

Marc has written an intro for the CD booklet and, so as not to spoil it for those who have ordered the new album, I have just taken the first paragraph from it:

“As you may have guessed from the album title, this is a ‘home made’ album. It’s songwriting in its most ‘basic’ form. It could almost be called a ‘demo album’, I think…And that was the concept for it right from the beginning. In an alternative universe maybe this album exists produced by a ‘top’ producer, in a hi-tech studio with amazing musicians lifting the songs to new heights with their ear for detail and unique talents. This, obviously, is not that album. This as as ‘Home Grown’ as they come… “

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“Take all these melodies away, Free them from my soul, They’ve been haunting me for days, It’s good to let them go…”

The opening track A Portrait immediately gets you into the soul of this great singer/songwriter. The music is gentle and whimsical and leaves you feeling touched by a world of calmness and peace. Marc’s voice is full of pathos and emotion and leaves you waiting upon every syllable of every word as it washes over you with a spiritual grace. There is a touch of folk to the song with the delicate strings that hover in the background, a beautiful start to the album that leaves you wanting to hear more.

“Take all of the dreams that you’ve had, Make them come true right before your eyes, take all that sorrow away, It’s a brand new day…”

The beautifully harmonised choral opening to Raise Your Voice gives way to an upbeat track driven on by the acoustic guitar and the uplifting vocals. This is a track full of joie de vivre and has a feel-good factor that just leaves you on a high. The catchy chorus has you singing along with gusto and on a spiritual high. This is definitely a song that will have a live gathering singing and clapping along to every note and left me with a big smile on my face.

‘When days are like shattering glass, They’re so fragile they don’t last, It’s like chasing waterfalls…”

I know Marc is a very spiritual person and Just Between God And Me could be his own personal thoughts on the events that are happening around the world as we speak, the hardships and trials and tribulations of those who aren’t in a position to help themselves. It’s a sober, solemn and thoughtful song that asks some pretty important questions. The vocals are full of heartfelt sentiment and really struck a chord with me, balanced against the sparse instrumentation as they are. The harmonised backing voices give a sense of wisdom to the track and you are left looking up at the stars and wondering whether there is any judgement to be had in the heavens.

“Remember days that used to be, with one big happy family alive, Driving through the countryside, With your Dad by your side tonight…”

Hands Of Time is a very poignant track dedicated to the life of Marc’s long term partner Tamsin’s father and is a beautifully written and touching tribute. It’s about the bitter sweetness of happy memories tinged with the sadness of lost loved ones. The wistful music, piano and violin especially, leave you in a bit of a melancholic mood, the memories will be there forever but you can’t turn back the hands of time. An emotional, moving song where Marc’s vocals really stand out and one that, ultimately, leaves you in a reflective mood thinking of the joy and pain that the past can bring.

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“Daddy will you sing for me, Daddy will you sing with me, Riding through the streets with my little girl, Pedals going round as her hair unfurls…”

A lovely song written for Marc and Tammy’s daughter Enya and one that sees her appear on backing vocals, My Little Girl is a touching little ditty that is full of love and devotion and you can hear it in the timbre of Marc’s voice as he delivers this ode to his ‘little girl’. The gentle music has a cathartic feel to it and imbues this track with a simple grace and tenderness. Marc’s voice is what inspires Enya to sing and this song is as much a thankyou to him as it is dedicated to her.

“In or out, What the hell’s it all about?, Black or white, Why do we find the need to fight…”

When The English Rose is, in essence, a protest song about Brexit, racism and everything that is rocking our country at the moment. Because it comes from a singer/songwriter it has none of the angst that a punk band or hardliner like Billy Bragg would give it but it is because of that fact that it perhaps hits home a bit harder. An edgy riff from Marc’s guitar and a touch of anger in his voice give vent to his true feelings and the timeless question to which none of us seem to have the answer, “Surely we are stronger together, Surely it’s ‘Divided We Fall’…”

“Caught inside a landslide, In our topsy-turvy world, somewhere in-between us, We’re screaming to be heard…”

Still In Love With You is just under three minutes of delicate charm and beauty. Marc sings of a love lost and the found again and the pain and then joy that ensues. The exquisite music and ethereal timbre of the vocals just give the whole song a feeling of dignity and finesse with a profound honesty at its heart.

“It was 33 years ago, When I first put the words in a song, My friends said just give it a go, And soon they were singing along..”

A journey through Marc’s career to date with subtle hints in the radio style introduction (River sea’s Out Of An Ancient World anyone?), Whatever Happened… is wistful and nostalgic with the wispy tendrils of the music subtly insinuating themselves into your thoughts and Marc’s voice dictating his move from being in a band to a solo career and back again. It is actually a very moving song and the music has a real haunting capacity to it, plaintive and thoughtful which is only enhanced by the fantastic vocals.

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“Caught in the spotlight, The Road always ahead, I drive by moonlight, To the comfort of our bed…”

A song about the endless hours Marc spends on the road touring the North of England to play his acoustic shows and how all he ever looks forward to is going home to his partner, Go is a mesmerising track full of the warmth of the affection that he has for Tammy. The music starts quite laid back, tender and mellow, the bass really coming to the fore and Marc, once again, delivers an impassioned vocal performance full of subtle highs and lows. In duet with the exquisitely fragile piano, you can almost imagine him driving back to Cumbria in the early hours of the morning. The understated guitar solo and poignancy of the piano that close the track are utterly delightful.

“Talking to myself never felt so real before, ‘Cos everything I say you seem to ignore…”

A song about relationships and the difficulty of communicating, Am I Getting Through has a nervous energy to it from the off. Marc’s voice has an urgency and seriousness to it that is matched by the tempo of the music and the guitar riff. When I listen to this song I can envision him sat on his stool singing to the audience at one of his shows, it has that immediacy to it. There is a pressing pace to the song, an imperative insistence and, ultimately, it turns a negative into a positive and changes fractious feelings into hope for the future, a message we could all do with following, whether it was meant to be subliminal or not.

“When each new day greets me, Your the first soul I see, Lying there next to me, In harmony…”

Make no bones about this song, it is a love song from Marc to Tammy and you almost feel churlish for invading into their personal space. A pared back folk-infused piece of music, beauty lies deep in the heart of this captivating track, the graceful guitar and hushed tones of the vocals give it an ethereal grace and you are held transfixed by its sheer grace.

“Lay your head on me, Hold my hand in unity, Rest in me and I’ll rest in you, One love between the two, So lay your head on me…”

Another song written from his heart for the love of his life, Marc really gets my heartstrings going and a tear in my eye with the sheer emotive finesse, charm and power of Lay Your Head On Me. It brings back all the wonderful memories of the times we spend together in a relationship. Love is a powerful emotion when put into music and here it takes your heart and lifts it up, soaring to the heavens on  a wave of tender music and the utterly beguiling vocals of Marc Atkinson. The graceful guitar solo is delightfully mesmerising and you are left in a place of utter peace and calm and one from which you never want to leave.

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“All that I dreamed of came true, The first time I ever saw you…”

Plucking at those heartstrings again, Eternally bewitches and charms with its heavenly charm and its sublime grace. The guitar and vocals combine to give the song a humble and yet exquisite feel and one which guides though any rough waters to a sheltered bay of calm serenity. There is a well of love, affection and devotion deep inside this talented musician and Marc lets it flood out on these last three tracks leaving you in doubt of where his inspiration comes from.

“Don’t be looking back on yesterdays, They’ve been and gone their separate ways, Keep looking forward with that gaze, It’s gonna be alright, it’s gonna be alright…”

There’s a line in This Is The Future that goes ‘Hear the melody of life, Take it hold it deep inside..’ and that, to me, is what music is all about, it is the melody of life and no more so  than in this collection of songs. Another great upbeat song that tells us not to look back but to keep staring forward, we can’t unmake what has gone before but we can decide our own destiny. The uplifting music and Marc’s optimistic and encouraging vocals enforce that mantra and you find yourself agreeing with him wholeheartedly. A song of hope and promise that in a year of disappointments for me, really matches my mood now I, myself, have found that person whose arms I can run into.

“When I need somewhere to go, There’s a little place I know, And best of all it’s homegrown…”

This endearing album closes with the fiercely dignified title track Home Grown. This speaks of Marc’s home studio, a ‘Little box in which we could create sounds to break the silence.” It’s almost a short biopic of the making of the album and is delivered to us in a wonderfully cultured fashion with the acoustic guitar and piano providing the soundtrack over which Marc’s distinctive and refined vocal provides the narrative. There’s no rush to the telling of this musical tale, let the world fly past while the music that can last a lifetime is crafted with loving care, forever to stand testament to the heart and soul of this wonderful musician.

To me, this is what makes writing about music worth every single minute I take. I have been involved in this long musical journey in some small way from start to finish and when you hear the finished article, it is almost like welcoming a newborn into the world. Marc Atkinson will have agonised about every single word and note on this album and to my ears it has been worth every single second he has taken. This is music that takes over your mind and soul and which you can relate to on a very personal level. Fifteen songs that are extremely personal to this gracious man and we should be glad that he has released them for us to enjoy. A great album and one that I have no doubt is the complete pinnacle of Marc’s solo career to date, I am extremely proud to be able call him a friend.

Released 21st November 2016

Buy ‘Homegrown’ direct from Marc here

 

Leo Trimming Interviews Adrian Jones of Nine Stones Close for Progradar

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Leo:  Hi Adrian – it’s been a few months since the release of ‘Leaves’ on Bad Elephant Music.

What has been the reaction so far in terms of critical reaction and interest from fans?

Adrian: It’s been interesting. Critically we have received mostly positive reviews across the board, there seems to be an appreciation of what we are doing musically, as in not standing still. It would have been easy to have followed up ‘One Eye On The Sunrise’ with a similar sounding and style of album, but that’s not very interesting, is it?

I don’t write to formula, or sit down to write something in a specific style, I just write what comes naturally to me at the time and ‘Leaves’ is a statement of where my mind was when the songs were written. I know for sure we have lost some fans with this album, and a few have openly said in public and to myself that they really don’t like the change of singer, but that was out of my hands. Obviously those line-up changes have driven some of that – Aio (Adrian O’Shaughnessy) is a very different singer to Marc (Atkinson) and he brings something new to the sound. His range is fantastic, as you can hear on the album. On the flip side I also had messages from people saying that they really love the new singer and album. Overall, I think we lost some fans but maybe gained a few new ones along the way. For me writing and recording is about progression, development of yourself as a writer and artist, exploring new territories. I do think ‘Leaves’ is a natural progression of Nine Stones Close.

Leo:  What is the origin of the band name?

Adrian: It’s named after an ancient stone circle in Derbyshire, England near where I grew up. I visited the place earlier this year with my brother and my son, a kind of pilgrimage. It took us bloody hours to locate it. Google maps is no help at all ! We found it in the middle of a farmers’ field on Harthill moor. It’s a beautiful spot, very peaceful.

Leo:  Can you describe the creative song writing process for you and the band?

For instance, do the music or the lyrics come first?

Adrian: I generally start just noodling around on whatever guitar I happen to pick up and then see what flows musically. I never really learned to play anyone else’s songs, only the odd riff, phrase etc, so I start just messing around rather than playing anything specific. Usually an idea flows fairly quickly. I never had any guitar or music lessons so I don’t really follow any musical rules, which probably helps me be more creative. Sometimes it can be a guitar effect that triggers and idea, or a drum loop or beat. I also bought a GR55 guitar synth unit a couple of years ago for the ‘Jet Black Sea’ project and that helps me create ideas in new ways too. Once I have the idea I can run with it and usually write the whole thing on the fly very quickly, afterwards properly shaping it can take some time. I like to layer guitars with harmonic chords and lines, sometimes quite a lot of them, much to the annoyance of our producer (laughs). The track ‘Spoils’ had about 95 tracks, I think, when we came to mix it. I pretty much always write the lyrics at the end – it’s the hardest part for me. I tend to make notes, write down the odd line that comes into my head and then start to expand on the idea. The music inspires the lyric in a way as well.

Recently I have been working more with Christiaan (Bruin) during the writing sessions and it’s been great to be able to bounce ideas back and forth interactively with someone, but more often than not I write alone.

Leo:  You can certainly hear the multi-layering on ‘Spoils’ – it sounds so intricate, intriguing and wonderful – a real ‘grower’.

What do you prefer? Writing or recording?

Adrian: Writing. Definitely. Recording is fun too, but the initial creation of the song, is where the excitement really is for me –  that creation of something from nothing. I do think I am lucky in that I seem to be able to write every time I pick up a guitar. The ideas just seem to flow. There is a joke in the band that if they are late arriving for a session in the studio I will have written at least one more song before they arrive (laughs). Actually, thinking back, the song ‘Complicated’ happened exactly like that.

I also write the additional guitar parts on the fly and I am terrible at writing things down, so I often have no idea what I played afterwards. I am trying to get better at writing that stuff down as it does become a problem when you have to relearn something to play it again live or in rehearsal. Over 2 hours of material was written for ‘Leaves’, and at one point a double album was discussed. However,  what we put out was my vision of a cohesive album. A couple of songs were even dropped very late on after I decided that they didn’t fit, and I really don’t like long albums anyway. 40 odd minutes is still a good length for an album in my opinion, so we overstretched that yet again, probably because we had 4 years making it. My hard drive is full of unused ideas and almost finished recordings which may never see the light of day due to lack of time.

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Leo:  Is there an overarching theme to the album, and why is it called ‘Leaves’?

It seems clear you like to maintain some ambiguity in your lyrical ideas but a few clues as to the background of the songs may be interesting!

Adrian: It’s not a concept album, but there is definitely a theme.  It encompasses many things about modern life – what we are doing to the world we live in and to ourselves … and Lies of all kinds.

When I started writing the lyrics I was in quite a dark place, personally, for a number of reasons. I think we live in very dark times right now, but many people are totally oblivious, blinded by the mainstream bought and sold media, and so buried in iPhones, Netflix and other materialistic stuff that the world could be ending and they wouldn’t really notice. It’s a kind of enforced escapism, I guess.

In the end I decided to call the album ‘Leaves’ after the lyric I wrote for the title track. It’s a very ambiguous word and covers many of the themes that the album deals with.

You are right, I do like ambiguity, and I purposefully write lyrics in that way, I like the listener to be able to derive their own meaning from the songs. I remember in a review of the previous album someone mentioned that the song ‘The Distance’ was about the complete breakdown of a relationship … well, it is and isn’t, but you can certainly read it that way.

Leo:   I’ve been listening to this fascinating album again repeatedly recently and cannot help feeling how ‘dark’ much of it feels in tone, lyrical content and atmosphere.

Are the songs largely based on personal reflections of your personal experiences or feelings, or are they more detached manifestations of your imagination?

Adrian: A bit of both, I think. It’s definitely dark. As I mentioned, I was in a pretty dark place when writing much of this album. I am really happy with the overall atmosphere that we created musically. I think it has a very definite “feel”. Some of the lyrics were easier to write than others. ‘Complicated’, for instance, was very easy to write lyrically, it just flowed. It’s theme is the Lie we present to the outside world, and reflect back onto ourselves. If all of our thoughts were visible and openly accessible to everyone else, would we be able to cope with that?

Other songs, like ‘Spoils’, went through several lyric re-writes to try to avoid being too obvious, to create a mood without saying “This song is about blah blah blah”. See, I am not going to tell you what it is about even now (laughs).

Tone wise, the album is definitely heavier, more heavy guitar driven, than previous albums. That just happens to be how it turned out. There were some songs that we didn’t use which were too close to the feel we had on the ‘One Eye On The Sunrise’ album, and didn’t really fit where I wanted to go with ‘Leaves’.

Leo:  You really don’t want to give too much away about the lyrics, do you?!

Probably just as well – the listener can interpret and feel it in their own personal way – much more intriguing and engaging.

On this new album you ambiguously described epic song ‘Goldfish’ as:  about a new world sociopath and others might think it is about …. something else …’.

Any further clues as to what that actually may mean?!!

Adrian: No!!  One reviewer described it as being about “media brainwashing”, one said it was about the “short attention span of the internet generation”, another said it was about something completely different. Looks like my ambiguous lyric is working!

It was actually written from the perspective of a “new world sociopath” (whatever that is, I just made it up), but it does also have a deeper meaning.

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Leo: Antonio Seijas has done some wonderful artwork for Marillion and Gazpacho. How did you connect with him and why did you choose Antonio for the album artwork?

How does he come up with his artistic ideas in relation to your music – do you give him visual ideas upon which to work?

Adrian: I love working with Antonio, he did an amazing job for ‘One Eye On The Sunrise’ and the ‘Jet Black Sea’ project album. Antonio creates the art work based on the music and the lyrics and puts that into the concept. What he came up with for ‘Leaves’ is a perfect fit for the music and words –  it’s stunning. I connected with him initially via Frans Keylard, a good friend, when I was looking for artwork for ‘One Eye On The Sunrise’, obviously I was already aware of his artwork for other bands. I think he has a really unique style and he’s a lovely person too.

Leo:  That’s interesting, because it was through Frans Keylard that I first heard your music. He played your album ‘Traces’ on his old podcast ‘Rogues Gallery’ on the Dividing Line Broadcasting Network about 6 years ago, and I was immediately VERY interested in Nine Stones Close. ‘Traces’ is another wonderful album. I miss those podcasts from Frans, and he ALWAYS played at least one Marillion song on every show!

To bring things up to date, there have been some significant personnel changes in Nine Stones Close for this album. I expect fans will be particularly interested to know why former vocalist Marc Atkinson (of Riversea) is no longer involved, and why Brendan Eyre (also Riversea) is no longer on keyboards?

Adrian: Marc decided to leave the band after ‘One Eye On the Sunrise’ for his own personal reasons, there was nothing I could say to change his mind. Everything else is about commitments, timing, etc etc. Everything got a little twisted after ‘One Eye….’ I wanted to push on, get another album out within a year or so and I also started to line up potential live dates. That really didn’t fit with everyone else’s perspective and possible commitment, and it led to a fracture in the whole Nine Stones Close journey. I guess I can be blamed for being over ambitious and I also made a few mistakes there. Everyone else involved has other bands or projects as well, and families, jobs, etc etc, so it is difficult to align commitments to getting an album made, never mind a tour. I sincerely hope to create some new music with Brendan Eyre in the near future, time allowing, as I think we have a great mutual musical understanding. He has been working on some great stuff too with Tony Patterson, and there is another Riversea album in the pipeline. Everyone who worked on ‘Leaves’ will be involved in the next album.

Leo: Thanks for your openness. It really can’t be easy trying to pull these things together whilst everyone involved has other projects and ‘real lives’ in which to make a living and survive. I agree with you about Brendan Eyre’s work with Tony Patterson – their album ‘Northlands’ is genuinely outstanding. I am also greatly looking forward to the new Riversea album.

It’s good news that you’re working with the same line up that played on ‘Leaves’ for the new album as I’m fascinated where the Nine Stones Close journey will go next with such a talented band.

How did you find new band members and why did you choose them in particular?

Adrian: As I mentioned, it was a difficult time after ‘One Eye On The Sunrise’ came out. I was on a bit of a high  – I thought we had created a really great album and we had a chance to really take it to the next level, but it simply didn’t work out. Almost immediately after the release Marc left the band and I spent a long time looking for another singer, and that massively delayed the new album. We tried a couple of people, but it didn’t work. I wanted someone with a different voice, who could bring something unique and new to the band, to me there was no point playing safe and finding someone with a similar style to Marc. Aio came on board after being recommended to me and flying in for a session. We connected straight away and his voice brings a new edge to the sound and I think really fits the new songs perfectly. We recorded the vocal for ‘Complicated’ in the very first working session together. Christiaan I met through Pieter (van Hoorn), we had a rehearsal session in Arnhem and hit it off instantly. He is great to have around and is always full of enthusiasm and great ideas for music. Peter Groen came on board later when we were nearer the final recording stages of the album – he is also great to have around in the band.

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Leo: The excellent new album ‘Leaves’ seems to be a very clear change in tone / direction after ‘One Eye…’.

Was that related to the personnel changes and the different sounds / styles they bring to the band, or was that a clear change from your perspective as band leader?

Adrian: Great to hear you are enjoying the album. I never stand still musically. The three previous albums are all very different from each other too. Aio is an element of that new sound but the material was written before he came on board so the change in sound was already progressing. I am always moving forward, musically, and can guarantee the next album will be different again. Of course, the new singer brings a change to the band’s sound, as does any change of singer. It’s so up front and obvious, of course. Christiaan and Peter both bring their own sounds and approach to the music, and that too changes the overall sound of the band.

Leo:    Are there any plans / aspirations for playing as a live band, either on tour or at Prog festival events like ‘Summers End’?

Adrian: We would love to, hopefully someone will invite us to play!

The problem is the logistics of where everyone lives, available time, family commitments, work commitments and finances. So far it’s just not worked out for a combination of all those reasons. Hopefully in the future it will work out. We are currently working on a possibility for 2017, I hope that we can make it happen this time.

Leo: I really hope Nine Stone Close can make it to the live stage at some point.

Many artists ‘self release’ these days. How did your working relationship with David Elliott of Bad Elephant Music develop, leading to the release this  album?

Adrian: I started out with self-release myself with the ‘Lie Big’ album then ‘St Lo’ and ‘Traces’. We are still best friends with the local post office staff in Leiden! I had known David informally for a while though The Dividing Line Network. I also met with Matt Stevens a few times for a beer and he was always telling me how Bad Elephant were doing a great job for his band, The Fierce and The Dead. The real introduction though was via my mate Brendan Eyre who linked me up with David and Martin (Hutchinson) for a discussion about finding a home for the release of ‘Leaves’. Fortunately, after hearing the album, they were still interested (laughs). It’s been great to work with such an open, realistic, and enthusiastic label, long may it continue.

Leo:   They are certainly an eclectic and supportive label who seem to genuinely have the interests of the artists and the music at the heart of what they are doing.

Whom is your favourite / most influential guitarist/ musician, and what are the main artists that you feel have influenced you as a musician and song writer?

Adrian: It’s almost impossible to choose just one. I listen to a LOT of music. I think Jimmy Page has to be up there. Not just as a guitarist, but as a producer, writer, performer, guitar orchestrator, he was a complete package. Those Zeppelin albums still stand up today. Obviously, as a guitarist, I have been influenced by many other great players : David Gilmour, Steve Rothery, Andy Latimer from the progressive world, but equally Jerry Cantrell was a huge influence. Then there are Kim Thayil, Ty Tabor, Alex Lifeson, Tony Iommi, Trevor Rabin, Zappa, Adrian Belew; way too many to mention. In terms of artists, Talk Talk were a phenomenal band in terms of their progression and output, Pink Floyd, obviously, Led Zeppelin, Black Sabbath, Alice In Chains, Soundgarden, King’s X, Kate Bush, …. I could go on for ages.

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Leo: On ‘Leaves’ you skillfully used violinist, Annelise Rijk, and cello player, Ruben van Kruistrum on the great song ‘Lie’.

Are there any other particular artists with whom you would like to collaborate in future, possibly on your next album?

Adrian: Yes, they did a fantastic job on ‘Lie’. Christiaan also has to take the credit for the string arrangement on that part of the song. Katy Bell provided beautiful cello on the last album too, and Matt Stevens provided some crazy guitar work.

I think there are always other artists I would like to work and collaborate with. I am always open to offers to play on other artists’ material too. I love to do that – it’s a nice challenge which is very different to writing and performing on my own material. I recently provided some slide and lead guitar for the track “Kindest Eyes” on Tony Patterson’s latest album. That was a pleasure to do and it turned out great, I think. Hopefully there will be more  collaborations in the future. Anyone interested should feel free to contact me!

Leo:   Progressive or ‘Prog’ music fans can be remarkably conservative at times, which does sound contradictory to the concept of progression.

How would you describe Nine Stones Close as a band, and what is your view on how some fans may find it difficult dealing with changes in your band’s style and personnel over time?

Adrian: I have phrase I came up with recently, “progression has collateral damage, prog doesn’t”.

I do agree with you that some ‘Prog’ fans can be very conservative these days. For me ‘Prog’ is very different to ‘Progressive’ in meaning these days. ‘Prog’ is more of a style thing now, you know: “sounds like Genesis, Yes, King Crimson or Pink Floyd, must have widdly widdly bits, long songs and huge amounts of time changes”.

If you look at bands that have truly progressed, they have changed, lost fans, gained fans, always moved forward regardless of any fashion or commercial success. It’s fine for fans of our previous albums not to like what we are doing now. It’s perfectly natural. You see that music divides opinion like that. Some people for instance, refuse to listen to any post Peter Gabriel Genesis album, whereas I think they made their best albums after he left. Some people feel the same way with Marillion, for example. Music does polarise opinion. Personally, I want to move forward and not create the same thing over and over again just because some people might like it. There is no money to be made from doing this – it’s purely an artistic outlet, so what is there to lose? I might as well do whatever I want to do. I have no pressure to be an AC/DC type band, effectively churning out the same sounding album year after year. Where is the fun in that? If I am not enjoying making music and run out of ideas and things to say, then I will stop. Nine Stones Close music comes from my heart and soul, I pour everything into it, I hope that some of that comes across to the listener.

Leo:  A really interesting response – I particularly like the phrase “progression has collateral damage, prog doesn’t”I may nick that!

More seriously, it is very clear that you have poured your heart and soul in to the Nine Stones Close albums. They are not formulaic or repetitive, and certainly have engaged this listener.

I know you’ve only recently released ‘Leaves’ but are there any embryonic ideas to the direction of the next Nine Stones Close album, and possible timescales?

Adrian: Yes, actually, there is. I had some discussions with our producer about what I want to go for on the next album. It will be different again, especially in terms of overall sound and feel, I want to take it somewhere new again. It will be a challenge to do that, but hopefully what I have in my mind we can somehow get out onto a CD. Working with Paul van Zeeland (producer) is great, because he has such a deep understanding of sound and how to translate that into a recording and mix. I recently started writing and working on arrangement ideas with Christiaan and we have some great ideas on the go already. The plan is try to record the album somewhere in 2017, but that is all dependant the usual work, family, time commitments. It will definitely not take 4 years this time, if it does then it will never see the light of day! I can’t go through that again.

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Leo: One last silly question.

We’ve recently had the Olympics and Paralympics. If there was an Olympics for Music which 3 albums would you give Gold, Silver and Bronze medals and why?

Adrian: Oh, that’s a very difficult question for a throwaway last question (laughs). Music is always a very personal thing for the listener as well as the musician trying to convey something. I grew up in a house where there was always new music available. My father used to work as a sales rep for various record labels over the years and there were promo copies of albums and singles coming through the door pretty much on a daily basis as I was growing up in the 70’s and 80’s. I used to  play almost everything that came into the house and quickly learned about different styles and genres and also what spoke to me. I have a huge music collection at home, so choosing a top 3 would be impossible. If I had to choose 3 off the top of my head, like now, hmm.

Here are 3 that grew my love of music and made me the writer I am today …

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Led Zeppelin – ‘The Soundtrack From The Film The Song Remains The Same’

This is the reason I picked up a guitar. I went to see a re-showing of the movie shortly before my 16th birthday with some school friends. Despite my love of music I had never really thought about actually playing an instrument myself, and there wasn’t a lot of opportunity back in those days, we were not well off as a family. I remember just being totally blown away watching Zeppelin perform, and immediately after I got home I asked my parents for a guitar for my birthday. They scraped together some money from somewhere and managed to get me a starter classical guitar, not exactly the Les Paul I had in mind, but it was still amazing to have a guitar and it set me on my own musical journey. The version of No Quarter on this is fabulous, Jimmy’s solo is sublime. I know everyone thinks it is not a great representation of how amazing they were live, but I love it.

Silver

Alice In Chains – ‘Dirt’

I still remember the day I bought this album. It’s left such a lasting impression on me. I was with a friend shopping for stuff in Bristol and went into one of my favourite record shops. It had just been released, and having heard the earlier stuff I was interested to see where they were going. To say it blew me away is an understatement. I remember getting home and cracking open some beers and putting it on the hifi.  About 8 hours later we were still listening on repeat and still drinking beer. The first listen was such a shock, we ended up sat in silence the whole album just taking it in. Jerry Cantrell is a massive influence for me, the way he plays, what he plays, how he writes, hugely underrated in my opinion. Layne had one of the best voices rock has ever known and his combination harmonies with Jerry were just sublime. If you listen to the album I made with my previous band Lie Big – “Severed”, you will hear how big an influence this band had on me. If you only try one track from ‘Dirt’ then listen to ‘Rain When I Die’. What an incredible and inventive song. Frankly there are no weak moments on the whole album, it’s a true classic and it still gets played regularly today.

Gold

Talk Talk‘Spirit Of Eden’

I was always a Talk Talk fan from day one. I remember having the promo of their first single from my dad and thinking the singer was fantastic and that there was more to them than the single. In this case no one really know how much more. I can’t think off-hand of another band who progressed as far as they did over just 5 albums. The Colour Of Spring was an incredible album, but nothing prepared me for this one. I remember first hearing it and just not getting it, I was thinking “Where are the songs? What are they doing?”.

Over time it grew and grew with repeated plays until I became totally obsessed with it for a while. The production is amazing and they absolutely captured the mood of those sessions. This is easily in my top albums of all time and certainly in my most played. 28 years later and this is still regularly on the hifi. If you haven’t heard it then you definitely need to.

Leo:  I don’t know Alice in Chains or ‘Dirt’ so I’ll have to track that one down as you recommend it so highly. I remember seeing that Led Zeppelin film at the cinema and loving it – just one of THE great bands. Love your choice of ‘Spirit of Eden’ and had similar reactions to you when it came out – it’s ageless. Fascinating and varied choices – a real insight into your development and influences.

Thank you Adrian for taking the time to do this interview with Progradar – it’s been really interesting for me and I am grateful for your openness and the thought you have given your answers.

I hope your current excellent album ‘Leaves’ continues to receive the attention it deserves, and I wish you all the best for the next project.

‘Leaves’ was released on 13th may 2016 and can be bought from the Bad Elephant Music bandcamp site:

Nine Stones Close – Leaves

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(Leo Trimming)

Review – Nine Stones Close – Leaves – by Leo Trimming

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The band Nine Stones Close is named after the remains of an ancient stone circle (see the featured image) situated in the Peak District of Northern England near where Adrian Jones grew up as a child. The origins of the monument’s name and their history are shrouded in mystery. Aptly, Adrian Jones is also the rock upon which Nine Stones Close has been built since 2008, starting as a solo studio project with St.Lo and later developing into a band with the excellent albums ‘Traces’ (2010) and ‘One Eye on the Sunrise’ (2012). ‘Leaves’ is their latest album and demonstrates Jones’ ongoing commitment to excellence and progression in his music, alongside significant changes in the band line-up. It is also true to say that like the stone circle Jones also likes to retain some mystery, leaving his music and lyrics open to interpretation by the listener.

Leaves as images or as metaphors are well used devices in poetry and music, possibly symbolizing beauty and growth but also death, change and rebirth – richly coloured Autumnal leaves beautifully carpeting forest floors, giving way to new shoots and leaves in Spring. Perhaps such imagery could be applied to Nine Stones Close as they release their new album this spring. They blossomed previously to great effect on ‘Traces’ and ‘One Eye on the Sunrise’, particularly helped by the remarkable keyboard skills of Brendan Eyre and captivating vocals of Marc Atkinson (both of Riversea, whom have their own album out later this year). Eyre and Atkinson have now left the band amicably to concentrate on their own projects to be replaced by keyboardist Christian Bruin (of Sky Architect) and Adrian ‘Aio’ O’Shaughnessy on vocals.

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Previous fans of Nine Stones Close may need some time to adjust to the new direction of the band. Jones is clear that he never stands still musically. He has stated : ‘The three previous albums are all very different from each other. The new singer is an element of that new sound…’. Nevertheless, it is fair to say fans of Atkinson’s voice may need to adjust to the different style of Adrian O’Shaughnessy. This reviewer did need some time to put aside his love of Atkinson’s voice and appreciate how Aio’s very different voice really suited the new music being produced by Nine Stones Close. Such an open minded approach is richly rewarded as the musical vistas and darker lyrical landscapes conjured up on this album open up fascinatingly with Aio’s versatile and powerful voice illustrating the different texture and feel of the music perfectly.

Relatively short song Complicated opens the album with a shimmering keyboard theme giving way to a sinister beat and menacing voice, rising to a throbbing, growling guitar, underpinned by Peter Groen’s dextrous bass. Those unprepared for the change in Nine Stones Close will certainly be saying ‘We’re not in Kansas anymore, Toto!’ Nevertheless, dear listener, stay on board because the ride will get much stranger and darker yet, with a set of characteristically extended songs in which Adrian Jones and band takes you on a psychedelic journey, starting with the very peculiar but enthralling Goldfish. Jones ambiguously describes Goldfish as: hopefully some might think it is about a new world sociopath and others might think it is about …. something else …’. Bruin’s keys float us into this strange odyssey  and we hear a much more subtle side of Aio’s vocals as he intones ‘Conscience has died’. Interestingly, Jones bravely holds the musical tension with restraint. Aio plaintively sings ‘Welcome to my Life’ before Jones’ guitar soars to a crescendo before the piece recedes into a bleak, desolate drone. What’s it about? I have some sort of sense of it, but I honestly don’t really know – but it’s intriguing stuff, and I don’t really care that I don’t fully understand it – that’s half the fascination!

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Adrian Jones has said of Lie, the next song on the album, ‘that’s a bit of a beast and my personal favourite’, which is understandable as it is an outstanding piece, opening with swaggering instrumental menace. Aio’s versatile vocal swings between sinister but quiet, over a section of chopped chunky riffs reminiscent of Porcupine Tree, to powerful full throated rock howling. Then from left field Adrian Jones throws in a dissonant guitar section, presumably indicating the dislocating and undermining effect of mendacity (Lies), which is one of the underlying themes of the album. The momentum increases as guitars spiral around the central crunching drums and bass, with Bruin interweaving subtle keyboards. This fascinating and unpredictable song develops further as violinist, Annelise Rijk, and cello player, Ruben van Kruistrum, in multiple parts build and build the intensity with Adrian Jones guitars stratospherically swooping around the central theme. For fans who liked the remarkable  and epic Frozen Moment on the previous album ‘One Eye on the Sunrise’  will find this familiar but more sinister territory, musically. This was the song which reassured this reviewer that, whilst Nine Stones Close have changed, they have not lost that quality to create rich musical landscapes suffused with a sense of the dramatic and psychedelic.

To underline that point Spoils opens with subtle understated menace with Aio practically purring the vocals before the song erupts and then settles in to ‘Kashmir’ like progression as Aio roars in Robert Plant-esque power, although this band are no Zeppelin copyists! Once again, Nine Stones Close take an unexpected turn as this piece drifts away in to a dream like interlude as Aio sings ‘I’m living a Dream’ with acoustic guitar and then subtle electric guitar playing over an atmospheric and eerie keyboard backing. This bewildering but captivating song then erupts again before once again descending into another dream-like fugue – ‘The Dream I’m Living’ floats over the music, and then the whole band really lets loose with a volcanic finale in which Pieter Van Hoorn particularly shines with some explosive drumming. Part dream, part nightmare Spoils is a remarkable song which has grown and grown on this reviewer – repeated listens gradually unpeel the layers of this song, like all the best progressive pieces.

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Titles track Leaves concludes the album and, once again, Nine Stones Close take a left turn. Having adjusted to the more powerful direction of much of this album the listener is then confronted with with a largely very restrained, subtle and eerie song which seems tailor made for Aio’s versatile voice. Van Hoorn shows that drumming is not all about pounding away as his imaginative percussive touches play around the theme and vocals. Jones conjures unnerving and weird sounds from his guitar to punctuate this unsettling landscape, before introducing some Floyd like sweeping guitar lines with Aio crying ‘Have you ever lived your life, Have you ever really lived your life?’ as the song builds in impressive intensity. However, just when you think Nine Stones are going for the possibly clichéd barnstorming finale they fade into a wistful ending with Bruin’s piano beautifully and elegaically bringing us to the end of this journey. Whilst this is not a concept album Adrian Jones has described ‘Leaves’ as  having a theme  of ‘what we are doing to the world we live in and to ourselves’. That definitely comes over in the final track of this very fine album.

Progressive music fans can be remarkably conservative at times, which does sound contradictory to the concept of progression. Bruce Soord of The Pineapple Thief once said words to the effect that he expects to lose old fans with every album because some find it difficult accepting that he is progressing in his music, but that with every new album he gains new fans who appreciate his new direction. That is inevitable for any band like Nine Stones Close who do not stick to their old formula and want to progress. My advice is stick with these guys because you are never quite sure in which direction their songs or this albums may turn, but it sure is an imaginative and fascinating ride!

Released 13th May 2016.

Buy ‘Leaves’ from bandcamp

 

 

 

 

Review – Tony Patterson – Equations of Meaning – by Progradar

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“Life in the fast lane, surely make you lose your mind
Life in the fast lane..” 

Those words are taken from the Eagles’ track Life in the Fast Lane, particularly poignant due to the untimely recent death of Glen Frey, one of the original songwriters.

I was only saying to a friend the other day that January had literally flown by and that life in general was moving way too fast, the years seemingly flashing past in the blink of an eye.

We don’t take enough time to just relax and chill nowadays. It is almost illegal to just take time to yourself and enjoy the moment rather than be rushing around filling that time with something that appears to be important (and quite possibly isn’t).

Perhaps the late Sir Terry Pratchett put it best when he said, “This isn’t life in the fast lane, it’s life in the oncoming traffic.”

So, what can you do to move out of that ‘fast lane’ ? For me, my own retreat away from the rigors and, sometimes, horrors of modern life is music. Music can whisk me away to another place, a place of calm solitude where I can reflect on things and see life slow down to a much more manageable pace.

Don’t get me wrong, when I’m hitting the gym I want something fast paced and upbeat but, when I’m at home and in a reflective mood, I want something that will match that state of mind, preferably with a glass of something old and red and alcoholic to complement it……

I am here today to let you know if Tony Patterson’s latest solo effort, ‘Equations of Meaning’ fits the bill as an accompaniment to that contemplative atmosphere.

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Tony Patterson is a solo artist/musician from the North East of England. Probably best known as the singer with the UK Genesis tribute act ReGenesis, he has also recorded four previous solo albums as well as working for TV and short film.

His most recent work, ‘Northlands’, is a collaboration with fellow North-East musician Brendan Eyre (Riversea) and features guests including Steve Hackett and Nick Magnus.

I reviewed ‘Northlands’ and had this to say about this sublime release, “A totally bewitching musical experience that transports you to another place, Northlands has touched my soul in such a way that I will never be the same again.

I am left with a feeling of solemnity and grace, as if I am in a place where all is well with the world and I can come to no harm.”

The first thing that grabs you about ‘Equations of Meaning’ is the superb artwork and photography, also a highlight of ‘Northlands’. This comes as no surprise as both were done by the talented Howard White and is featured throughout this review. I’ve often stated in the past that I am a sucker for excellent album art and this is no let-down.

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The album opens with the elegant instrumental track Ghosts. A quite delightful piece of music that leaves you in mind of elysian fields with the gentle acoustic guitar and ethereal keyboards. A really pensive guitar note then takes up the reins, thoughtful, intent and precise as it dances across your mind. A really meditative opening to the record.

‘All alone, chilled to the bone

Still your warmth flows through me

All around, beckoning sound

Though your ears can’t hear me…’ 

Nick Magnus adds his programming skills to The Magdalene Fields, a track that opens with a really delicate introduction before Tony’s gentle vocal takes centre stage. A song that seems to meander along, there is no fast lane in operation here, time is taken to relax and the ghostly aura puts you in a state of grace. The heavenly chorus is quite sublime in its subtle delivery. My mind is an open book and is waiting for these celestial notes to leave their imprint, totally at ease. Fred Arlington’s sax is an utter delight, velvety smooth and relaxing.

‘Young Billy takes his life and he throws it

all away

For a silly dream he has that would

somehow find a way…’

Each Day a Colour (A Dreamer’s Dream) sees Magnus take on occasional keyboard duties alongside Patterson and is another exquisite track. The opening section is dreamlike and graceful before an acoustic guitar lifts the musing aura and the vocals smoothly segue in and give a jaunty air to proceedings. There is a soothing and reassuring tone to Tony’s voice that gives it a really hypnotic air. Nick Magnus then delivers a superb slow burning, passionate guitar solo that is mesmeric and calmative at the same time, a real piece of magic to end the track with.

‘Ship sets out for sail today

Cast away, Cast away

Waking Dawn will show the way

Cast away, Cast away….’

Cast Away may be short but it is exceedingly sweet and gossamer like in its delivery. The tender guitar and haunting vocals give an almost surreal ambience, tranquil and soothing. It has a real calming effect, my heart rate dropping considerably. listen to this with headphones on and you will lose yourself in its benign embrace.

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The Angel and The Dreamer

i) Vision   ii) Journey   iii) Reprise

This track is a more intricate instrumental with vocal embellishments provided by the luscious voice of Siobhan Magnus in addition to Tony Patterson. The first part, Vision, is full of eastern promise and a brooding longing hidden in the background, quite earnest in its delivery as the vocals are used as another instrument adding layers of intensity. Journey sees a return to the creamy, polished feel of the earlier tracks, Fred Arlington returning to lay down some jazzy horn to the track as it becomes effortlessly cool. Doug Melbourne adds the class of a the mopho synth as we move towards Reprise and a return the mysterious east.

‘Look to the sky

I’m not feeling this ground

See all the world

Something happening here..’

The intro to Beneath a Perfect Sky builds up steadily, becoming a methodical, repetitive backdrop to Tony’s melancholy vocal. The measured delivery of this track is extremely reassuring and relaxing as it washes over your psyche in its metronomic style. A beautiful lilting piano and choral voices leave you in blissful repose as this restrained piece of music continues to soothe your soul, the wonderful horn playing of Fred Arlington that closes out the song is just the icing on the metaphorical cake.

‘I saw your picture on your wall

Sent you a message, did you read it at all?

Just let me tell you, I like your style

Give me your attention, let me

stay for a while…’

I heard a clip of Sycophant when Tony put a teaser video up and, knowing he is a big fan, I asked him if it was his homage to James Bond, I’m sure John Barry would give a knowing nod as the introduction begins. It really is classy as the strings begin before it heads off in a more funky direction with the edgy keyboards. Tony delivers the vocals in his slick style and they really make this track the epitome of cool. The repeated use of the string and keyboard motif just adds to the feeling that you are in the middle of an EON Productions movie. Andy Gray’s fiery and yet cultured guitar solo adds another sheen of gloss to what is a rather excellent song and one that has one foot firmly in the mainstream. An homage to Bond? I’d like to think so and a song that could grace any of the movies.

And When the Sky Was Opened is another transcendental instrumental track that has a whimsical, almost insubstantial feel to it as it ghosts its way across your aural synapses, a musical Amuse-bouche perhaps.

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‘There’s a fire that burns within my soul

And it drives me on towards my goal

There’s a burning fire that’s in my eyes

There’s a place that I don’t recognise…’

The rarefied air returns with Pilgrim, another urbane and congenial track that flows gently across the airwaves. Tony’s vocal is a bit more insistent but it reined back by the calming feel of the piano and keyboards. Fred Arlington’s horn makes a welcome return, just adding to the unhurried repose that this song engenders. Lay back, relax and let the harmonious charms of Fred’s sax free your mind and your soul.

Tony’s long time writing partner and friend Brendan Eyre co-wrote the piano based instrumental As The Lights Go Out and it is a little gem of a song. Brendan’s piano has an unseen depth to it that grabs your heart and soul and pulls you in, it is so beautiful it almost brings tears of joy, tinged with a small hint of nostalgic sadness.

‘Look at me

Time was never on my side

You and me

Survived the turning of the tides…’

All good things must come to an end and The Kindest Eyes is the final track on this wonderful album. A cultured acoustic guitar opens the song before Tony’s voice lifts your mind and takes you on a bewitching and whimsical musical journey. This track was written for Tony’s wife Angela and he admitted to me that it took a lot of courage to write. Well, I for one am glad he did, it is utterly stunning and just leaves a huge smile on your face. Nick Magnus, once again, provides the programming and the superb slide guitar and highly emotive guitar solo delivered by the outrageously talented Adrian Jones just lift it to another level. I would hate to pick one song above any of the others but this was the one that moved me most emotionally. The way the song closes out, fading to an enchanting acoustic guitar, just leaves you struck dumb.

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Well I was utterly mesmerised by ‘Northlands’, Tony’s collaboration with Brendan Eyre and this album deserves to be mentioned in the same breath. To get the utmost from the album you must listen to it from start to finish, preferably with headphones on, in  a darkened room and with your choice of relaxing alcohol. To me, ‘Equations of Meaning’ is not merely a great release, it is a state of mind that we should all aspire to when our Life in the Fast Lane gets too much for us. Superb and highly recommended.

Released 26th February 2016

Order ‘Equations of Meaning’ from Cherry Red Records