Review – Damanek – Making Shore – by John Wenlock-Smith

‘Making Shore’ will lift your spirits from any post new year blues that you might be troubled with, for this album is simply glorious. Well, it’s been a long time in is its realisation and, finally, the third Damanek album is nearly upon us. It will physically be released on the 13th of January 2023 and I can envisage big success for the band with this fantastic collection of songs, eight in total, in two distinct sections. Part one has seven songs of middling length and with various themes, part two is one thirty minute epic, consisting of five parts, which is an exploration of alternative realities and time travel.

The band consists of a core unit of Guy Manning (lots of keys, lots of acoustic instruments (guitar, mandolin, bouzouki), percussion and vocals), Marek Arnold (saxophone, keyboard) along with Sean Timms (keyboards, vocals, percussion, mixing and production duties). They are aided by a veritable who’s who of modern Neo-Prog. These include half of Southern Empire, that’s Cam Blokland on guitar and Brody Green on drums, also present are Ralf Dietsch of Cyril, Jonathan Barrett (ex The Tangent bass player), Riley Nixon-Burns (trumpet) and Linda Pirie on flute and piccolo.

Together these folks make truly special and spacious music that has a familiar feel alongside new sounds and textures. The music is rich and lush with melody woven strongly throughout. It is an album that will draw you into its orbit and will give you a satisfying musical journey that will take you from Mount Everest through the Great Barrier Reef , an American heartland and finally on a journey into a world of memories, hopes and desires. All are to be discovered within it tracks so buckle up for the ride of the month if not the year, such is the strength and stature of this album.

The albums first track is A Mountain Of Sky, a song about that most famous of summits, Everest. The sound is very clever in that it captures and conveys Tibetan sounds and is very evocative of that area, the song has a driving beat and rhythm to it and is as epic as the mountain itself, with a strong chorus and some strong guitar lines woven within its running time. The soundscape is everything you could want from Damanek making this epic track a superb statement of intent and it bodes very well for the rest of the album. The ethnic feeling percussion, woven with the expressive sax work of Marek Arnold, is a joy to hear and means this song really has a swing and a groove to it, even the cod reggae section works well. There is so much to enjoy before the song ends on a graceful guitar break, simply a brilliant opening to the album, it’s fabulous stuff. Back2Back is about how humanity has pushed the world into a difficult situation regarding the climate of the earth and its repercussions for us. There are very thought provoking lyrics within this song and there is also a further fantastic guitar solo. Noon Day Candles is a plea for a fairer share for all and contrasts our scientific and technological achievements with our unwillingness and inability to feed the worlds children. This is a very fine song and whilst it’s words are earnest and challenging the music is well balanced with the questions and pleas the song asks and raises.

This album is proving to be challenging in its subject matter and lyrics, never a bad thing in my opinion, it is good to have to think about these issues. Americana is a song about a fictitious American farm in the heartlands that is struggling with the demands of the present age, climate Change and poverty. Farming is not easy as anyone who has watched Clarkson’s Farm can attest, the song is short and direct.

There are then two songs of the sea interrupted by a song about dementia, In Deep Blue (Sea Songs Pt.1) is a very personal one for Guy as it about his youngest son who, despite having Asperger’s, decided whilst on holiday in Greece to go scuba diving. This song is Guys musings on his bravery and determination to have a go at it. He managed to accomplish his goal and this made Guy very proud of his son’s achievements. Reflections On Copper is a more sobering song, focusing as it does on the increasing number of people who are being affected by, and living with, dementia. Dementia is a cruel illness and disease that can take many forms, I personally am affected by vascular dementia as the result of a stroke meaning my neural pathways have been damaged by the stroke and whilst that dementia is mild at the present time, it may not stay that way, only time will tell so the sentiments expressed are certainly relevant to my own life. Crown of Thorns (Sea Songs Pt.2) is about how the Great Barrier Reef is being affected and how, again, climate change is affecting the balance with an increase in the Crown Of Thorns starfish who normally eat that faster growing coral which gives slower growing species an opportunity to catch up. Climate change has affected this though as the coral eating starfish have increased in outbreak proportions. This song concludes the first half of the album

The second section is the multi part Oculus, split into an overture and four acts. This is a very interesting and somewhat difficult song to digest but is best heard as a complete track (about thirty minutes in total). The song is about alternate dimensions and realities. This is a most interesting concept and this piece reflects that curiosity in a very well balanced manner. It is also a cautionary tale in that we can hear a warning that we perhaps need to heed and to consider. Of the four acts One is the scene setting, Two is the adventure, Three is the consequences of the action and, finally, Four is the redemption and return to normality. The song is epic and the story is illuminating and yet cautionary at the same time. The music in all acts is subtle and exciting and the piece ends with urgent horns and a dazzling guitar solo that bring it all together in a gracefully and satisfying manner with a well executed door slam to conclude proceedings.

This album has so much to commend it, great subject matter, challenging & thoughtful lyrics and superb & inspired playing. It certainly is a winner to these ears, a sublime, intelligent and articulate work of art, I urge, nae demand, you to pay attention and add it to your listening pleasure.

Released 13th January, 2023.

Order from GEP here:

Damanek – Making Shore – Pre-Sale – GEP

Further information can be found at the band’s website here:

DAMANEK – the official website (guymanning.com)

The Tangent announce ‘Pyramids, Stars & Other Stories: The Tangent Live Recordings 2004-2017’ for January 2023 release

The Tangent are pleased to present ‘Pyramids, Stars & Other Stories: The Tangent Live Recordings 2004-2017’ for release on the 27th January 2023 via InsideOutMusic. Collecting together tracks from 3 line-ups of The Tangent, this 2CD & 3LP album collects together show recordings from 2004, 2011 & 2017. Band leader Andy Tillison comments: “A Triple Live LP is the stuff of Bucket Lists, dreamed of doing one of these since I was a kid”.

The album will be available as a 2CD Digipak, a Gatefold 3LP+2CD & LP-booklet, as well as digitally worldwide. Listen to the track ‘A Spark In The Aether’ recorded by the bands current line-up, and pre-order now here: https://TheTangent.lnk.to/PyramidsStarsOtherStories_TheTangentLiveRecordings2004-2017

Included in its entirety is the 2004 ‘Pyramids And Stars’ concert in Germany featuring the “Roine Stolt” lineup of The Tangent playing its way through the majority of the debut ‘Music That Died Alone’ album along with (then) new material from their second album ‘The World That We Drive Through’.

Added to that, there are tracks from the COMM era line-up of the band at a concert in the UK – plus music recorded in the USA in 2017 by the band’s current line-up. These originally appeared on the ‘Southend On Sea’ and ‘Hotel Cantaffordit’ fan releases respectively. 

All is presented inside a re-imagined Ed Unitsky sleeve, to create a package that fans are sure to love. 

“This is a real, proper, live album” says Tillison. “It’s candid, it’s spontaneous, it has mistakes and things that are a bit too loud and things that are a bit too quiet. It’s what happened on stage at three gigs at which “making a live album” never crossed our minds.”  

The full tracklisting is below:

Side One

1. The World We Drive Though

Side Two

3. The Canterbury Sequence

4. The Winning Game

Side Three

5. In Darkest Dreams

Side Four

6. The Music That Died Alone

7. Lucky Man

Side Five

8. A Spark In The Aether

9. A Sale Of Two Souls

10. Perdu Dans Paris

Side Six

11. A Crisis In Mid Life

12. Doctor Livingstone (I Presume)

The CD’s (included with the vinyl edition) also include all of the above with the addition of:

13. Titanic Calls Carpathia

14. Two Rope Swings

Andy Tillison – Keyboards & Vocals (all tracks)

Jonas Reingold – Bass Guitar (all tracks except 9,10,11,13)

Luke Machin – Guitars & Vox (Tracks 8-14)

Steve Roberts – Drums (Tracks 8, 12, 14)

Roine Stolt – Guitars & Vocals (Tracks 1 – 7)

Zoltán Csörsz – Drums (Tracks 1 – 7)

Sam Baine – Keyboards (Tracks 1 – 7)

Tony ‘Funkytoe’ Latham – Drums (Tracks 10,11,13)

Dan Mash – Bass (Tracks 10,11,13) 

The Tangent online:
www.thetangent.org

https://www.facebook.com/groups/alltangentmembers/

HRH Prog 7 at Hafan y Môr Holiday Park in Pwllheli – by James R Turner with input from Progradar

This was my first HRH Prog, and I gleefully loaded up my car with the requisite supplies (Bottled water, Bottled Beer) and entertainment for the journey (the new Sheridan Smith album – it’s rather brilliant btw, the new Robyn CD, the latest Gryphon album and Chas n Dave the EMI years) and set off on the long trek from Bristol to North Wales.

I drove through some wonderfully evocative countryside, (which I saw on the way home, as it got dark for the last two hours of my journey) not to mention the frankly terrifying visions of cars honing past me on blind bends and narrow roads. They have no fear those Welsh drivers.

On arrival I was met by Lord Progradar himself, already priming me for the wallet emptying that was coming by raving about Southern Empire. Having seen the stage times and the final rearranged running order, I was pleased to see that Southern Empire and The Strawbs no longer clashed.

It was pretty much drop the bags off, have a beer at the apartment, and then off to see the music, the first night kicking off on Stage 1.

The venue itself was an actual original holiday camp and it’s been over 20 years since I last stayed in a Haven and, I have to say the accommodation was excellent, and a short (if bracing) walk to the main venue. Both the stages are next door to each other, separated by a pleasant plaza with a Burger King, Chippy, Starbucks and an open air bar.

This made ducking between stages for the sets incredibly easy and meant even if there was a slight overlap, then you didn’t miss much of the bands’ set. Of course, there were several clashes so some bands I was unable to see and apologise if I missed you out. Unfortunately, I couldn’t be everywhere at once.

Joined by fellow prog scribe Leo Trimming and other friendly faces, the relaxed atmosphere (and probably the beer) made for a relaxed and friendly ambience. Of course, there was David and Nicola Robinson and Andy Faulkner offering to relieve us of the burden of heavy cash in our wallets in exchange for shiny discs of happiness (hell, it’s a prog festival – you will go home laden with CD’s. It’s as inevitable as death so don’t fight it).

It was a pretty packed schedule which we were launched into, I won’t say gently as they were anything but, by Maschine who ticked the event off on Thursday night on Stage 1.

My biggest gripe with the festival was that the areas in front of both the stages were seated, which really took away some of the ambience and energy of the audience. Whilst there was plenty of dancing and movement going on further back in the venue, it must have been disconcerting for the bands in full rock mode to look down to a sea of faces all sat down like they were at the theatre.

The audiences were very enthusiastic, and it was a good crowd, but as a punter I do like to stand as close to the stage as I can get for at least a couple of songs, and this vital aspect of a live gig was sadly denied to me in stage 1.

A highly acclaimed act to start the festival, Maschine are full of energy and presence. Formed by Luke Machin (who must be one of the hottest young guitar players on the scene currently) and Dan Mash (Damanek) on Bass.

This young band have really grown into their sound, with the second album ‘Naturalis’ really building on the sound of their debut ‘Rubidium’. This band environment allows Luke the space to stretch himself on stage, however the occasional shredding in the middle of what was a fantastically complex song is one that jars a little bit.

There is no denying that the band is chock full of talent, Elliott Fuller more than holds his own with Luke on guitar, Marie-Eve De Gaultier on keyboards and vocals, centre stage as if she’s keeping the boys under control, and James Stewart anchors the sound with his drumming.

Bringing the material from their two albums to life on stage, Maschine set the bar high for all the other bands that followed and with their energy and power opened HRH in style.

This festival is nothing if not eclectic and Stage 1 did gain the nickname the retro stage, due to the number of classic bands performing there, and there was none more classic than the current incarnation of The Crazy World of Arthur Brown.

Fronted by one of the most distinctive front-men in rock and roll, the band did not disappoint. Arthur, in his full on God of Hell Fire face paint, and celebrating 50 years since the band’s debut album. To commemorate this fact, they played the first half of the record before launching into some newer material.

Arthur, as ever, is the consummate showman and the bands blend of blues and psych was performed by the latest incarnation, including a fantastic female guitar and keyboard pairing. These younger musicians, overseen by musical director Jeavon Beaumont, really put some spark into the music.

It even takes you back to old school psych festivals when, during some of the longer spacier moments, the band building a real groove, a female dancer comes on. The only thing that looks a tad uncomfortable is Arthur (about my Dad’s age) dancing and gyrating around the younger female guitarists, looking like a creepy Uncle in a nightclub.

Other than that, his voice still has all the power that it ever had and with their psych lightshow and deep groove (and a taut band), they put on a great show.

(Picture by Gareth Cole)

Headline act for the night, and band of the night for me was The Martin Barre Band, putting on a barnstorming performance, mixing new material and classic Tull tracks, the band put on brilliant performance. Vocalist Dan Crisp bringing the early style of Ian Anderson to mind, without this being a tribute act style.

Progradar I have to echo Jame’s thoughts on The Martin Barre band, it was a powerful and consummate performance. The tracks from latest release ‘Roads Less Travelled’ were blended perfectly with the classic Tull material and others. Martin’s guitar playing was incredible and Dan Crisp’s vocals perfectly matched.

(Picture by Gareth Cole)

For me, the highlights were the title track from the new album and (This Is) My Driving Song, both fiery, blues infused and powerful tracks. There was an electric energy running throughout the set and it made for a great end to the first day.

Heading back to the apartment for beer and a wind down after a long journey, this was a perfect opening to this three day bender Festival.

Day 2 started at the civilised time of 13:20 over in Stage 1, so there was plenty of time for me to go for a nice walk along the cliff tops, admire the Northern Wales coastline scenery and meander along the beach, before rendezvousing with Martin, who had been for a run.

A full English (or should that be Welsh?) in Porthmadog with Leo, set us up nicely for an afternoon and evening of entertainment. As locations go, a Prog festival in picturesque North Wales is certainly one I would recommend if they ever come back here again, as they are moving to London for next year’s festival.

On Friday I spent a lot of my time over in Stage 1 but before that the first full set of Friday was kicked off by I Am The Manic Whale in Stage 2.

I know Martin is going to go into their set in more detail, but I had spent the whole morning defending my position as a Doctor Who but not a Whovian, and then what did I Am The Manic Whale play? A song about Doctor Who complete with a fully progged out version of the iconic theme tune which brought a smile to my face.

Their set was a great way to start the Friday with and I will be looking forward to seeing them again.

Progradar The first band on a Friday lunchtime have a real task to energise the audience but I Am The Manic Whale soon had a fairly sizeable crowd rocking along to their high tempo, feel good style of progressive rock. With a set list comprising tracks from both of their releases, ‘Everything Beautiful In Time’ and ‘Gathering The Waters’, this unassuming band garnered many new fans with their excellent performance.

Over in Stage 1, Haze, currently celebrating their 40th year in existence put a great show on.

Led by the McMahon brothers, Chris (on bass/keys/vocals) and Paul on guitar and vocals, it was a romp through old and new material covering the bands existence. It’s been 20 years since I saw them and, since then, they released their album ‘The Last Battle’ back in 2013which mixed their sound up. Joined by Paul’s son Danny on drums and Ceri Ashton on vocals and flutes, they put on a fantastic show. Chris has lost none of his energy and stage presence and Paul’s vocals and guitar work was as great as I remember it from the ‘World Turtle’ days.

Danny on the drums adds some real power to the band, and it’s great to see the band carrying on as a family affair. They put on a fantastic set and were one of the bands I’d wanted to reacquaint myself with this weekend, and I am glad I did.

Following Haze were Tir na nOg, one of the legendary Irish folk duos, comprising Sonny Condell and Leo O’Kelly who, after a long hiatus, are now back out there playing a mixture of classic tracks and more contemporary material. Considering they are just an acoustic duo, they managed to hold the audiences attention and, while there were occasional drifts into folk singer cliché, they utilised looping and percussive beats on other tracks to put on a fantastic set that kept the audience entertained.

Progradar Following I Am The Manic Whale on Stage 2 were The Amber Herd, a band I’d never heard of before but one who produced a rather flawless set of folk rock/prog with intelligence and humour. As James has already stated, it’s difficult to catch every band at a festival like this but I’m glad I caught this trio as they were on of my surprise highlights of day 2.

Over on Stage 2 I was able to catch some of Mother Black Caps’ set, they had their ‘team’ out in force the night before passing out fliers and drumming up support, and while I didn’t manage to stay very long, I found I enjoyed their blend of rock and would have liked to have seen a bit more. Unfortunately, with festivals like this, you do find there are clashes.

Back over to the Stage 1 arena I was in time to catch the whole set from Birmingham instrumental trio Axiom, who were last minute replacements, hot footing it down to North Wales from the Midlands, complete with their drummers’ dogs.

This instrumental power trio of Zaid Crowe on guitar, Josh Ainsworth on drums and Stuart Drinkwater on bass were a revelation and one of the star acts of the Friday. Pulling together an impressive musical arsenal, they blend riffs with beats and they sit very nicely in the same area as bands like The Fierce and the Dead and Zombie Picnic.

Clever, progressive instrumental rock that is very easy to get into and enjoy, they also proved they have a sense of humour and don’t take themselves too seriously by playing a track that included some of their favourite riffs, mixing Michael Jackson’s Beat It with some Thin Lizzy and then the Death Star March tune from Star Wars got a great reception, it was fantastic to see a new exciting band like these guys really bringing it to life on Stage 1. I rather suspect that we will be hearing a lot more from this talented trio in the future.

A quick nip back over to Stage 2 enjoy the rest of Final Conflict’s set, a band who I’ve not seen, like Haze in about 20 years, and it was good to see that they are as strong as ever, with their own brand of Floydian-esque rock they know how to put on a show, and the audience seemed attentive.

Following them was a band who were new to me, an act called GU-RU, another musical trio who, with Lee Spreadbury on keys and vocals, Malcolm D’Sa on drums and Naomi Perera on flute and vocals, created quite a unique sound.

The mixture of the drums, the flute and the keys created a fantastically eclectic musical mix going from old school prog to real psych sounds and heading into full on dance music, while Perera’s flute soared throughout. Spreadbury is a bona fide old school prog keyboard player, full of charm and stage presence and plenty of musical chops.

In fact, GU-RU had magnificent stage presence and a sense of how to entertain the audience, and I managed to catch nearly all their set. They were really entertaining with a unique and different sound to some of the other guitar heavy bands. That really captured my attention as I love artists who will mix things up and go down a different road to everyone else.

GU-RU are one of those bands and they really played a fantastic set.

(Editor – We have this strange image because, despite James saying Wishbone Ash are one of his favourite bands, he didn’t manage to provide a picture!)

It was back over to Stage 1 for the founder member of one of my favourite bands. I was chatting to someone about the mammoth Wishbone Ash box that came out earlier in the year, it really is a thing of beauty. I know it was expensive, but I have loved Wishbone Ash for over 20 years and it was a perfect opportunity to get everything all in one place for me, and that’s why I was really looking forward to Martin Turner’s set.

I have seen Martin Turner’s band before, and the Andy Powell version of Wishbone Ash and while I like the fact that these bands are still out there and playing the music, Martin’s band just edges it for me. The reason why is that he plays a lot of the deeper cuts and back catalogue stuff that Andy Powell doesn’t, throwing in a blinding version of Front Page News for instance, Persephone also got an airing as did the title track to the latest studio album, Written in the Stars.

Obviously sets like this are truncated so the band, which is currently touring the Wishbone Ash debut album in its entirety, cut that back and played a few numbers from there and rounded the set off with a blinding trio from ‘Argus’, Warrior, Throw Down the Sword and Blowin’ Free.

Martin was on top form with his between song banter and his bass work is asnifty as ever, the twin guitar work of Danny Wilson and Misha Nikolic replicates the sound of the original band but, as both men are incredibly talented guitarists, they aren’t merely copying. They put their own stamp on the sound and are clearly having fun playing together, while drummer Tim Brown anchors the sound.

This is clearly Martin Turner’s musical vision and he takes both the audience and the band with him as he plays the music he created. It’s no nostalgia fest either as he and his talented band make their own mark on these songs and breathe new life into them.

Headliners on Stage 1 on Friday were Neo-Prog legends Pendragon, celebrating their first 40 years with the tour of the same name.

Nick Barrett’s distinctive guitar and vocal work is, as ever, front and centre, while the core line up of Peter Gee on bass, Clive Nolan on keys and Jan-Vincent Valazco on drums were augmented by Verity White and Zoe Devenish, who help to flesh out the already mighty sound of Pendragon.

These guys have been touring and performing for a very long time, and Nick and Clive are both masters of their respective instruments. Though I have seen Pendragon live more times than I care to remember, this is the first time I’ve seen them with the additional female vocals, and this new dimension to the bands sound really makes a difference.

The auditorium was packed, and it was heartening to see several younger punters here (and by that, I mean people younger than me – at 41, according to Martin I brought the average age down!)

Performing a set covering all the classic Pendragon eras, after all 40 years is a hell of a lot of music to cover, Nick and the gang managed to mix the set up and include tracks like Green and Pleasant Land (with its slightly dubious lyrical content, I am not sure how tongue in cheek it is with some of the sentiments expressed) among others, which kept the crowd entertained.

Having enjoyed another full day of music and discovering new bands to go with my appreciation of some of the more vintage acts, HRH put on a good mix.

Progradar -I had, early evening, shot off to meet up with Sean Timms, Danny Lopresto and Brody Green of Southern Empire:

It was an impromptu interview which, unfortunately, I didn’t record (the official interview will be aired soon) but we talked about all things Empyrean and the music in general over (quite) a few beers. I did manage to get back in time to catch part of a wonderful set from Luna Rossa, their ethereal sound and waif like grace ever ceases to calm my heart rate and Anne-Marie Helder was on top form this night. 

Saturday, we had a lovely trip out to Criccieth Castle with those TPA boys Leo Trimming and David Glaves (there is no competition between the prog review websites, we’re a friendly bunch of guys), just up the coast from Pwllheli, before the music started. The view was stunning and, as the castle is part of the ring of castles in North Wales, it would be rude to not visit whilst we were up there. We then found a pleasant café where we enjoyed our full Welsh breakfast to set us up for the days progging.

Martin was busy doing interviewing things (Ed: it’s called ‘work’ James), so I spent plenty of time at the bar, drinking with Gareth Cole flitting between the two different arenas to see as many sets as I could.

I spoke to Al Winter, frontman for This Winter Machine, this time last year when their debut album, ‘The Man Who Never Was’, had just been released and was getting great reviews. Since then, the band has recorded their second album, and been making waves with their well-received live shows.

This was the first time I had seen them and, having really enjoyed their debut, I was looking forward to their set.

They did not disappoint, Al was on fine form, his vocals really superb, and he worked that stage (& the audience) like he owned it, the new material from the forthcoming album fitted in perfectly with the songs from ‘The Man Who Never Was’, a perfect evolution of the bands sound and approach, and when they finished their hour long set (4 or 5 songs I think, but hey this is Prog) they got a standing ovation (the first opening band, I Am The Manic Whale, also got one on Friday).

The band made a fare few new fans and friends, and I am sure that they sold plenty of CD’s (Al knowing how to push his product by reminding the audience exactly where the merch was). Sometimes opening a festival can be a thankless task, it’s not known as the graveyard slot for nothing, but, like I Am The Manic Whale  before them, This Winter Machine took full opportunity of this to get the day started in style. It followed the tone of the weekend, while the bigger names were on Stage 1, some of the more eclectic and exciting acts were on Stage 2.

There is a delicious irony in me typing that as bar Southern Empire and Gandalf’s Fist, I spent pretty much all Saturday in Stage 1 (& part of it enjoying the company of Gareth Cole, Chris Bembridge & Richard Thresh – splendid chaps, all of them).

I saw some of Goldray’s set, the new band from former Reef guitarist Kenwyn House, with vocals from Leah Rasmussen. This weekend certainly had an interesting mix of classic rock sounds and psych sounds and Goldray were certainly out there.

From their glittery stage presence, to the light show, and the hypnotic musical sound they are at the forefront of the psych revival and about as far from Reefs sound as is possible to get. Leah has a magnetic stage presence, and plenty of star quality whilst the guitar work of Kenwyn was sublime. A complete glittery contrast to the next band on Stage 1, Jump.

Now out of all the bands that play for the CRS and that I have seen, I reckon I have seen Jump nigh on 30 times and they have never played the same set twice.

Fronted by Celtic bard John Dexter Jones, still looking as lithe and nimble as when I first saw him, he is the reminder of the fact that the protest song is still as relevant as it ever was and why musicians must talk about politics and life.

I read a lot of guff online about people saying that musicians shouldn’t talk about politics in their music and they should keep their art separate. Why? Is always my stock answer, they are making their art and it is not up to us to dictate what anyone should sing about. I remember the Jump song Tower of Babel, inspired by someone telling John he shouldn’t swear so much. Politics is everywhere, it dictates house prices, it permeates out every being, everything that happens to us and society is dictated to by politics, so musicians should reflect that in what they do if they are being true to themselves and their art.

He is a passionate, articulate and intelligent frontman who comes from proud Welsh stock and his history is as important as our future. This was evident in this truly impassioned and powerful set, featuring as it did, several songs that still resonate and sadly, despite being written a while ago, are still as relevant as they ever were.

The scathing Moscow Circus (taken from my favourite Jump album ‘Matthew’) and the new poem to music The Station Parade segueing into The Sniper from ‘The Beachcomber’ album, were two personally poignant insights about the First World War in the 100th year since it finished and telling of the folly of war and the story of one of John’s Great Uncles.

However, the highlight and most powerful song of their set, nay the weekend, was their new number Breaking Point, the title taken from ‘that’ EU referendum poster. It is Johns most brutal and impassioned takedown of this whole Brexit clusterfuck and rise of the right, I doubt there was anyone in there who wasn’t moved and understood the message behind the song.

Jump as a band are peerless live and they just get so much better with age, like a fine wine, with the twin guitar sounds of Steve Hayes and Ronnie Rundle trading licks and rolling riffs from one side to the other, whilst Mo on keys adds a lot of texture to the sounds. Andy Barker on drums keeps the beat going while newest member, Mark Pittam on bass, fits in perfectly with the band ethos.

JDJ made a humorous comment from a previous review about him hectoring and haranguing an audience, and you know what, for the quality of the performance and the songs I would happily be hectored and harangued for another few hours thank you very much.

I saw very little of Stage 2 during this period, which upsets me slightly as I had the misfortune to see some of the band that followed Jumps set.

Davy O’List’s The Attack, now Davy has an impressive prog pedigree, and an interesting back story, however I watched about 10 minutes of The Attack, of which at least two were the band stood in silence on the stage after finishing one song and none of them quite knowing what was happening next. At one point it looked like the band were all playing different songs, very little audience interaction and not much entertainment.

Sorry chaps, it wasn’t for me and I think a bit more rehearsal could have gone into this!

Progradar: I got back from interviewing duties just in time to catch German progressive metallers Deafening Opera on Stage 2 and I’m glad I did, their blend of powerful prog metal along with great melodies went down a real storm with the growing crowd. These young musicians were not only technically excellent but played with a lot of verve and a lot of soul. The 80 minute set was a great success and set everybody up for the next act…

I have been a big fan of Aussie melodic proggers Southern Empire for a while. Their first, self-titled, album crept under the radar a bit but the sophomore release of ‘Civilisation’ has seen them rapidly come to a lot of people’s attention.

With the charismatic Danny Lopresto on vocals and guitar, Cam Blokland on lead guitar, Brody Green on drums, Jez Martin on bass and Sean Timms as erstwhile bandleader and keyboardist, the band delivered a flawless set of dynamic, powerful and downright soulful music. Saxophonist James Capatch added a layer of impressive sophistication and Southern Empire proceeded to literally blow the audience away with their incredible storytelling and joyous music.

Opening with Forest Fire from the debut album and then following up with two lengthy tracks, Cries For The Lonely and Crossroads, from ‘Civilisation’, these marvelous entertainers from Adelaide had everybody lost in the moment and in the palm of their hands. Cam and Danny’s guitar interplay was brilliant and added a real fun feel to what was the utter highlight of the weekend for me.

 A live performance that was one of the best I have ever seen and one which I later called a musical epiphany, if you ever get the chance to see these guys live then do not miss it for the world!

Back to James for his take on Southern Empire

Making their HRH debut meanwhile over on Stage 2 was Southern Empire, formed by Aussie keyboard player Sean Timms, recently recovering from a heart attack, the timings were adjusted so they didn’t clash with The Strawbsand boy was I glad about that.Wwith livewire frontman and guitarist Danny Lopresto in fine form, and the formidable musical attack by the rest of the guys, Southern Empire were the band of the weekend for me.

Every festival I have ever been to always has the ‘why the fuck haven’t I heard this before?’ moment, and for me this moment was watching Southern Empire.

They filled the Stage 2 arena, put on an hour and 15 minutes of blinding music and left having won the hearts and minds of the arena. Those people saying ‘You must see Southern Empire’ were right, and much as I loathe to admit it (as it’ll give him a big head) Lord Progradar himself was bang on the money by saying these guys would be band of the weekend.

To think, if they hadn’t adjusted the timings due to pressure from fans wanting to see both Southern Empire and The Strawbs, I’d have missed this show, and I would have been completely gutted.

(Yes, I did leave having bought both Southern Empire albums, and they made excellent companions on the 4 and half hour journey home).

Progradar: Next up on Stage 2 were the wonderful ‘progressive piano trio’ Exploring Birdsong. I’d interviewed this young trio earlier and they came across as very wise heads on young shoulders and their set proved this to be very true. Drummer Matt Harrison, bassist Jonny Knight and pianist/vocalist Lynsey Ward delivered music that was a powerful combination of pop sensibilities and progressive compositions, all topped off by Lynsey’s soulful vocals.

Their recently released track, The Dowpour, is a cut glass piece of songwriting that belies their relatively tender years and was delivered superbly to the rapt audience. These three have a bright future ahead of them if this performance is anything to go by.

Back to my spiritual home for the day, Stage 1, for a set celebrating 50 years of The Strawbs. David Cousins had been unwell recently and so to see him on stage, surrounded by mainstays Dave Lambert on guitar, Chas Cronk on bass, Tony Fernandez on drums and, relative new boy, Dave Bainbridge on keys, they really went to town and played an explosive set.

Having jumped across many genres and styles, The Strawbs complex and intelligent music weaves between folk, rock and softer sounds and , for HRH, they pulled out all the big guns and gave us an eclectic electric set.

Mixing material from new album ‘The Ferryman’s Curse’ (tracks like The Nails from the Hands of Christ fitted the setlist like it had always been there) with an astonishing version of Ghosts, an emotive and powerful New World and a truncated quartet from their ‘Hero and Heroine’ set (Autumn, Hero and Heroine, Out in the Cold and Lay a Little Light on Me), they rounded off a powerfully strong set with the ‘Bursting at the Seams’ favourites The River and Down By The Sea.

This was an intense show of power by The Strawbs and shows how much energy and power the band have, it also shows that, with the newer material and the addition of Dave Bainbridge on keys, even after 50 years, Dave Cousins and the band are relevant, important and still have so much more to say musically.

I am glad the concert was rejigged so these guys and Southern Empire didn’t clash, as both their sets were important parts of this festival jigsaw and I am so glad I got to see an all-electric full band The Strawbs set in their anniversary year.

Following on from The Strawbs, and in one of the contradictory and different pairings that HRH seems to relish was another classic band celebrating their 50th anniversary. The original psychedelic warlords and musical anarchists Hawkwind.

Astonishingly, despite having loved this band since I discovered ‘Warrior On The Edge Of Time’ back at Uni in 1995. This is the first time I have ever seen Hawkwind live and, again, like The Strawbs, Jump, Gandalf’s Fist and Martin Turner, was one of my ‘must see’ bands of the weekend.

My favourite Hawkwind album is Warrior and so it was with great delight that they opened the set with Assault and Battery and The Golden Void, Dave Brock on fine form with guitar and vocals, while the line-up, currently down to a four piece of long serving drummer Richard Chadwick whose been with the band for 20 years (and who my chiropractor used to rent a room from, randomly!), Niall Hone on bass and vocals and newest member Magnus Martin, were, in suitably psychedelic fashion,just mesmerising.

The set included an incredibly extended version of the classic Damnation Alley where the riffs and extended improvisations contained more ideas than some bands have on an album, an arresting and brain melting Sonic Attack and a metronomical version of Born To Go.

We did duck out before the end due to the closing band on Stage 2 getting ready to start, but Hawkwind demonstrated why they are the original, and best, psych band still treading the board, and it’s full testament to the vision and skill of Dave Brock to keep this band on the road, playing these amazing tracks to an audience who clearly idolised everything they did.

(Picture by Gareth Cole)

One of the bands I have wanted to see for aeons, ever since I reviewed the album ‘A Forest of Fey’ back in 2013 for the DPRP, was Gandalf’s Fist, their drummer Stefan Hepe is a fellow naughty pachyderm. The way the band has expanded organically is brilliant, and then they blew everyone else out of the water in 2016 with their triple disc epic ‘The Clockwork Fable’.

Founder members multi-instrumentalist Dean Marsh and lyricist and vocalist Luke Severn have created a band around them with Stefan on drums, Ben Bell (Patchwork Cacophony – whose albums you need in your life) on keys, Christopher Ewen on bass and Keri Farish on vocals, this 6 piece absolutely owned the stage,and they were the perfect band to end the festival.

Making a brave choice to kick off with the unreleased track Leader of Men, from the opening bar they got the whole of the second stage on side. After all, the Fisters have previous having already fisted an HRH to within an inch of its life.

Pulling together a set list covering all bases (and, of course, the merch desk had all their CD’s including ‘The Road to Darkness’ reissue, ‘A Day In The Life Of A Universal Wanderer’, ‘Forest of Fey’ and ‘Clockwork Fable’, which I definitely didn’t buy the lot of to play on my journey home – here’s a tip for free, if you write for a prog website and know beyond doubt that your beloved better half won’t read this review, when smuggling CD’s into the house and hiding how much you spent, the phrase ‘review copies’ is one that you can get a lot of mileage from!)

Of course, the buggers pulled out the epic Eve’s Song from ‘Clockwork Fable’, which brought a tear to my eye, either that or I was sobbing at how much I’d spent but, either way, the powerfully emotive vocals of Keri Farish really brought this to life live and, of course, the band were on fire throughout.

The witty intro to Emerald Eyes (careful with that plagiarism Eugene) hinted at where the inspiration for this song came from and the between song banter between Luke and Dean was hilarious.

Songs from ‘Forest of the Fey’ (do Gandalf’s Fist deliberately try to provoke proggers with these titles?!?) mixed with the wonderful pieces from ‘A Clockwork Fable’ (a bloody marvellous live rendition of The Capture, for instance) show how much passion and energy the band put into their music. Another new song, The Warden, formed an integral part of the set and I cannot wait to hear the album that becomes part of.

From being a studio project to a fully fledged live band is not the easiest journey for some artists but Dean and Luke have chosen the perfect travelling companions. Stefan and Chris on drums and bass provide the perfect anchor points to allow keyboard wizard (in a top hat instead of a cape) Ben to sprinkle his magic all over the songs (seriously, you need to buy his Patchwork Cacophony albums) and Keri is the perfect blend of star vocalist and frontwoman, adding some real heart and soul to her musical performance and looking like this band have been together for ever.

From a competition to find the maddest prog name, to being real contenders for one of the most innovative and exciting prog bands out there, Gandalf’s Fist have had a tremendous few years, this set confirming what we all knew.

They are the future of prog and it was brilliant to see them play to a room full of appreciative fans, who stayed up well past their bedtime, looking at the at the age of them. We were well and truly Fisted, and I wouldn’t have had it any other way.

(Picture by Gareth Cole)

ProgradarI can echo James’ sentiments completely here, Gandalf’s Fist really did deliver a performance worthy of the final headliners on Stage 2. The impressive musicianship was matched by the peerless songs. To be fair, they are a band you either get or you don’t but I’m a big fan of their steam punk fantasy lyrics and ideas and, in Keri Farish, they have a vocalist who can capture an audience and hold them in her spell.

Dean’s sometimes crushing riffs give a visceral quality to the fantastical music and the rest of the band are all superb musicians imbuing the whole set with style and verve. Being the final act there was almost party feel to the performance with the audience thoroughly enjoying every track and giving the band well deserved standing ovation at the end. A wonderful way to close out the weekend.

I am a great believer in the healing power of music, and music, brings us together and unites us under one common cause, if only other things in life were so easy.

The HRH Prog festival crams a lot into the three days on site and I am very sorry to the bands that I couldn’t get to see due to clashes but, in events like this, you’re never going to see everyone, and I am glad I saw the sets I did. While I was most looking forward to seeing Gandalf’s Fist, who did not disappoint in any way shape or form, Southern Empire with their empirical and dominating set, just edged it for me as band of the festival.

The next HRH Prog is down in that there London, whether it will retain the family feel of this one I am not sure but, if the line up is anywhere near as strong as this, then any attendees won’t be disappointed.

People talk about the diminishing returns and lack of punters for small local prog gigs, I do wonder if this model isn’t the future, it might cost a little more, and take out more of your time, but I loved the friendliness, the convenience, and the way of seeing a combination of bands I loved and new bands that I now love, all within a very small dash between two stages.

Hats off to all the folks involved in pulling this together, and a massive thanks for letting me tag along and be a small part of something much, much bigger.

Progradar: HRH Prog 2018 was a huge success for me, excellent bands spread across two excellent stages with all the support network (food, beer, water etc.) very close to hand. The location had a hell of lot to do with the brilliant atmosphere and time will tell if the Shepherds Bush Empire venue will be as accommodating next year.

The highlights were Martin Barre, I Am The Manic Whale, This Winter Machine and Gandalf’s Fist but the star band of the whole weekend were the incredible and magnificent Southern Empire.

Keep your eyes peeled for forthcoming interviews from HRH Prog 2018 with Southern Empire, Exploring Birdsong and Gandalf’s Fist.

Review – Damanek – In Flight – by Progradar

“Who hears music, feels his solitude Peopled at once.”
― Robert Browning, The complete poetical works of Browning

Damn, 2018 has been a stellar year for some great new releases and another one has found its way to Progradar Towers!

Damanek are a sort of Prog Rock supergroup formed by fellow Yorkshireman Guy Manning (vocals, keyboards, percussion, guitars, bass), Marek Arnold (saxes and seaboard), Dan Mash (bass) and Sean Timms (keyboards, guitar, backing vocals & additional programming). This talented quarted is joined by a plethora of stellar musicians including Antonio Vittozzi, Luke Machin and Tzan Nico on guitar and Brody Thomas Green on drums.

Described as ‘a genre-defying collection of sophisticated songs..’, ‘In Flight’ is the follow up to 2017’s well received ‘On Track’. Once again Sean Timms’ sleek production adds to the overall sense of quality and class.

There’s a shiver of anticipation running through me as the opening notes of Ragusa break out, there’s already a feeling of class and quality shining through. Guy has one of those voices that speaks to you through and beyond the music, a familiar cultured tone that puts you at ease immediately. The music itself is impressively stylish and smooth and just adds to the feeling of sophistication. The guest guitarists add even more sparkle and inspiration, this is going to be one enjoyable journey. Oooh, jazzy piano and percussion, the opening to Skyboat is joyful and upbeat and, as the track opens up with gusto, we are sent on a rollocking musical ride. Funky guitar and edgy percussion, along with an ever so cool hammond organ, add to the feel-good factor and the grin spreading across your face. This is music at its inspiring best and music that brings joy to your soul.

The Crawler opens with a deliciously dark melody and feel, a mature and sophisticated aura permeates the song with Guy’s distinguished vocal adding layers of class. The captivating chorus with its elegant sax sends shivers down your spine. Sean’s production can be felt most here, giving us a stand out piece of music on what is becoming an evidently impressive album. There’s a levity to Moon Catcher, a lightness of soul and featherlight touch to the music. The sparsity of the production and laid back approach to the vocals, along with the meandering sax, leaves a whimsical feel, a really classy piece of music.

Catchy, addictive and upbeat from the first note, The Crossing is a jazz-infused delight, the carefree tinkling of the ivories a particular highlight. Add in some more of the impressive sax and Guy’s vocals and you are onto a winner. The 3 part epic Big Eastern closes the album, taking the listener on an emotive journey from East to West: from the poorest rural lands of China to the West Coast of the USA. Grand in conception, and inspired in execution, it’s a journey that you become deeply involved in and one that takes you across the whole galaxy of progressive music, visiting every nuance on its way. At just shy of thirty minutes it is a true epic but never outstays its welcome, every note and every word is there for a reason and that reason is to give the listener the best and most joyous experience ever when it comes to music.

‘In Flight’ is an album I haven’t remotely got bored of, even after multiple listens. A compelling, engaging and stimulating listening experience that leaves you high on music and life. Every absorbing minute of music is a minute that will bring a smile to your face. This year there have been some fantastic releases, releases that are finally bringing the joy back to music and Damanek’s ‘In Flight’ should be considered up there with the best of them.

Released 5th October 2018

Buy In Flight from GEP here

Listen to ‘Ragusa’ from ‘In Flight’ here

 

Review – Damanek – On Track – by Emma Roebuck

Damanek is DAn Mash, Guy MANing and MarEK Arnold (with Sean Timms coming to the party just a after the band name was decided, Guy tells me.)  A fairly stellar cast is joined by other heavenly bodies to guest on this, the debut album of this project.

Brody Thomas Green (‘Southern Empire’) – drums.
Tim Irrgang
 (‘UPF’) – percussion.
Antonio Vittozzi (‘Soul Secret’) – guitars.
Luke Machin
 (‘Maschine’/’Kiama’/’The Tangent’) – guitars.
Stephen Dundon
 (‘Molly Bloom’) – flute. 
Nick Magnus
 – keyboards.
Phideaux – vocals.
Ulf Reinhardt
 (‘Seven Steps to the Green Door’) – drums.

Their live debut at Summers End 2016 caused a stir and a buzz of excitement in the crowd and the Prog community as a whole. It is strong album from beginning to end and it is also, as you would expect from Guy, one with a message. If I am honest it has many messages all in the main told through the allegorical story telling of guys lyrics.

We have 8 tracks that have light and shade along with the complex use of instruments and layers to play parts in the sound. The production is outstanding and reminds of some of the classic albums of the 80’s (but without sounding like an 80’s Prog album.) Sean has done an excellent job in the mix and production of this truly global album.

The opener Nanabohzo and the Rainbow opens with a tribal rhythm and an insistent bass and drum riff throughout give an exotic feel to the track and a rather excellent ear worm quality. Marek has a big part to play with his Sax and, along with Sean on keyboards, is the flesh on the bones of the rhythm. Guy’s voice is on form all the way through the album, it slots so well in the sound as it shifts in form throughout the song.

Long Time, Shadow Falls, this has the most 80’s feel to me, drawing from the best of what Peter Gabriel in style and form did in the mid 80’s. I think it is the keyboard sound but the song is a commentary on poaching and the impact of man that is sung from the view of the victims, the Rhino, the Elephant and the Hippos. It is our gift to stop this but as a species we are doing a poor job.

Just pictures in a glossy magazine
Long time, a shadow falls and the Earth is lessened”

With the demise of the natural world we are lessened more than we realise.

The Cosmic Score is told on a much larger scale with the keyboards of Nick Magnus adding much to it. Imagine if you will the stars are notes on the score of the universe and the music of the universe is playing forever but how badly are we affecting that score on our little planet? It is massive in scope and symphonic in sound.

Believer – Redeemer could be a jazz-funk soul piece, in fact it is to these ears and a real pleasure to listen to as well. The music is a metaphor to the lyric, challenging the prog fan to step outside and listen to a world beyond the Prog bubble. The lyric does the same to the intolerant and unaccepting people of this world. I could honestly hear George Benson or Stanley Clarke doing a cover of this with little or no changes. Oh, by the way, this is a good thing!

Guy has a pixie like sense of humour and in The Big Parade it comes out in spades. The guys here write an anti-war song to a martial beat. The pomposity of marching music along with the beat of an Umpah band make the idiocy of war look like what it is – a playground for overgrown bullies. Reminiscent of Tom Waits “In the Neighbourhood”, with hints of ragtime and New Orleans jazz, here Marek gets to show off his skills to great effect.

The Finale on the album is Dark Sun, a 14 minute epic and  truly prog of ‘end of days’ proportions, it’s honestly scary and as ominous as its topic. The sun is getting darker and light gets dimmer as we kill the planet. Air gets thicker with pollution. The sight of our cities in the sunlight with unbreathable air and thick smog hanging like a veil over our lives. It utilises an excellent instrumental break and brilliant piece of guitar keyboard jamming with the brass synchronising beautifully.

I paint a picture of an album that is fundamentally depressing and dispiriting but it is actually very uplifting. The music is tight and full with the quality you would expect from the players but no one dominates in this and it feels like a complete piece of work. The malbum feels global with influences from across boundaries and geography. The messages may be a warning but each song offers hope rather than a sense of inevitable doom. It bears playing and playing again.

I sincerely hope that Damanek produce another album and take it out on the road. I won’t reference bands (as I usually do) but this is an album that has melody and song structure by the bucket load and is not frightened to go outside limiting parameters.

Released 15th May 2017

Buy ‘On Track’ from GEP

 

 

Review – Maschine – Naturalis – by James R Turner

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Formed around the nucleus of insanely talented guitarist Luke Machin, and bassist Dan Mash (both of whom have played with artists like The Tangent) their debut album ‘Rubidium’ was released in 2013, and in an unrelated interview with Andy Tillison; he told me that I needed to listen to that album. Now when Andy Tillison recommends something you listen to it, and you know what, it didn’t quite grab me initially where it should have done. Don’t get me wrong, it’s a great debut album and Maschine are an insanely talented group of young musicians, but, for whatever reason whilst I enjoyed it, I never ‘got’ it.

However, this, only their 2nd album (and by some of the music on here, and the intricate blends of sound, would make you think they have been playing together forever) got me from the start, (so much so that, time permitting, I will be revisiting ‘Rubidium‘).

This 5 piece, formed at the Brighton Institute of Music in 2008 feature, as mentioned earlier, the talents of Luke Machin on guitar & vocal, Dan Mash on bass, James Stewart on drums, Elliott Fuller on guitar and Marie-Eve De Gaultier on vocals, flute and keyboard.

With a diverse range of influences across the board, and playing styles throughout the band, their real skill is pouring all these un-distilled musical ingredients into their crucible and creating a striking and original sound.

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The 6 tracks on here, (the shortest clocking in at over 5 minutes!) all relate to natural events and the interaction between nature and all it can throw at us. This isn’t a concept album as such, but more connected events around which the songs are allowed room to breath and develop.

Boy do they develop, the opening 11 minutes of Resistance, mixes in the beautiful guitar work that both Luke and Elliott bring to the branch, the whole gamut of musical styles and influences creatively held together, with more ideas to spare in these 11 minutes than a lot of bands have in 11 years. The most effective weapon Maschine have is the contrasting vocals of Luke and Marie-Eve, which works together in creating some beautiful harmonies and interesting, counterpoints. And that’s just in the first 11 minutes!!

One of my favourite songs on the album, Make Believe features some amazing vocals from Marie-Eve, with a wonderfully slow build up, whilst the keyboard textures and powerful drum and bass combo of Mash and Stewart hold the piece together allowing an astonishing solo from Machin to burst forward.

The other epic on the album, the closing 11-minute Megacyma recounts the story of the Japanese Tsunami of 2011 through one mans eyes. What a mighty storm of sound they create as the song builds to its climax. They pull out all the stops here, with hints of 70’s classic prog keyboards, heavy riffing and some intense electronic walls of sound, whilst the two voices combine to create a fantastic sound, and the symphonic edge to this mighty finale is absolute perfection.

Of the other tracks on the album, Night & Day with it’s aural soundscapes and WWII story is contemporary prog storytelling at it’s finest. Hidden in Plain sight combines many disparate influences into the nearest they get to a pop song, with some fantastically funky drumming from Stewart and more of those wonderful vocals and Whilst A New Reality is Maschine’s sound in microcosm, featuring some wonderfully fluid guitar, fantastic symphonic keyboard work, and the sound of a band firing on all cylinders.

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It’s absolutely fantastic that nearly 50 years into the genre we call prog that there are immensely talented creative musicians of this calibre who are prepared to take risks and imprint their musical vision on the genre instead of being held back by the genres self imposed limitations and sounds.

Maschine truly are the future, and this album will firmly cement their reputation as one of the finest bands in this (or any) genre.

A last minute ball over the line for album of the year? Got to be a contender…

Released 18th November 2016

Buy ‘Naturalis’ from Burning Shed