With FROST*’s latest album, “Falling Satellites”, dating back to 2016, it was about time, mastermind Jem Godfrey teamed up with Nathan King and John Mitchell to continue forging daring and dynamic progressive music. After announcing the 32 minutes long “Others – EP”, now the time is nigh to reveal a brand-new track ‘Exhibit A’.
Jem Godfrey states: “It’s good to be back with a cheerful song for these cheerful times! This is about being careful what you wish for when playing the fame game”.
Completed already back in 2019, Jem has the following to say about the “Others – EP”:
“Others” is a 6 track EP containing 6 songs that were written at the time of the “Falling Satellites” album. Initially the idea was that “Falling Satellites” would be a double album, but it felt more focused and concise as a single album by the time we’d finished making it, so these half completed songs were put to one side. Now finished and mixed, they are ready to see the light of day!
The EP will be released digitally on June 5th, 2020 and will be released as part of the limited “13 Winters” anthology-artbook physically later this year.
Furthermore, FROST* are putting finishing touches to their highly anticipated new studio album which is tentatively scheduled for a September release through InsideOutMusic.
With FROST*’s latest album, “Falling Satellites”, dating back to 2016, it was about time, mastermind Jem Godfrey teamed up with Nathan King and John Mitchell to continue forging daring and dynamic progressive music.
Completed already back in 2019, FROST* now announce the release of the stunning 32 minutes long “Others – EP”. Jem Godfrey states:
“Others” is a 6 track EP containing 6 songs that were written at the time of the “Falling Satellites” album. Initially the idea was that “Falling Satellites” would be a double album, but it felt more focused and concise as a single album by the time we’d finished making it, so these half completed songs were put to one side. Now finished and mixed, they are ready to see the light of day!”
The EP will be released digitally on June 5, 2020 and will be released as part of the limited “13 Winters” anthology-artbook physically later this year.
A first track from the “Others – EP” will be released on May 22!
The track-list is below:
1. Fathers
2. Clouda
3. Exhibit A
4. Fathom
5. Eat
6. Drown
Furthermore, FROST* are putting finishing touches to their highly anticipated new studio album which is tentatively scheduled for a September release through InsideOutMusic.
Lonely Robot, the project masterminded by producer, guitarist and singer/songwriter John Mitchell (Kino, Frost*, Arena, It Bites), is set to release its fourth album ‘Feelings Are Good’ on July 17th, 2020, a fresh start following the conclusion of the ‘The Astronaut Trilogy’.
John comments: “‘Feelings Are Good’ is a bit of a departure from the first three Lonely Robot albums or ‘The Astronaut Trilogy’ as it has now lovingly become known. On ‘Feelings Are Good’, I wanted to explore more personal themes and the songs are very much about individual experiences and narratives that I believe had been the cornerstones, good and bad, to my life. The long tall and short of it is that we’re back on planet Earth, and I have a personal lyrical axe to grind!”
‘Feelings Are Good’ will be available as a Limited Edition CD Digipak, Gatefold 2LP+CD and as Digital Album in both 16 & 24 bit versions (all including 2 bonus tracks). The artwork is once again by Paul Tippett / Vitamin P (Black Star Riders, Frost*), and John says of the cover: “The artwork is meant to be a little disturbing. The closed eyes and taped over mouth are supposed to represent how people are very guarded with their emotions and what better way of emoting them than through the windows to the soul and the smile?”
The full track-listing is as follows: 1.Feelings Are Good 2.Into The Lo-Fi 3.Spiders 4.Crystalline 5.Life Is A Sine Wave 6.Armour For My Heart 7.Suburbia 8.The Silent Life 9.Keeping People As Pets 10.Army Of One 11.Grief Is The Price Of Love 12.The Silent Life (Orchestral Version) 13.Crystalline (Orchestral Version)
Lonely Robot will hit the road in December 2020 for some select headline dates, and you can find a list of those below: Dec 13th Islington Assembly Hall, London, UK Dec 16th Riff, Bochum, GER Dec 17th Das Rind, Rüsselsheim, GER Dec 18th Muziekgieterij, Maastricht, NL Dec 20th De Boerderij, Zoetermeer, NL
During the campaign for their acclaimed previous album ‘Under Stars’, a full animated film was created by Crystal Spotlight and screened at two very special cinema events in the UK. Now the full visual accompaniment is available to stream, and you can watch it now here: https://youtu.be/slyM9ZUzr6U
John comments: “It has always been an ambition of mine to have a full length visual accompaniment alongside an album of music I have written. With Under Stars and the help of Miles at Crystal Spotlight, this dream was finally realised last year. I’m very proud of the results and I’d like to thank Miles for all his hard work and patience in bringing this to fruition. I hope you enjoy it.”
John Mitchell is a man with a rich musical heritage and history – from musician and vocalist, to songwriter and producer. With bands like Arena, Frost*, Kino, It Bites and Lonely Robot, to name but a few, Mitchell has left his mark on the current progressive rock scene and has been involved in dozens of recordings. He is also a respected producer & mixer, running Outhouse Studios in the UK and working with artists as diverse as You Me At Six, Enter Shikari, Alter Bridge, Asia, Don Broco, Funeral For A Friend, McFly & much more.
“The expansive soundscape driven into their third offering blows the gates wide open with a wealth of captivating melodic prog rock tracks, delivered with a quintessentially British level of class and sincerity despite the very serious and thought-provoking undertones etched into the music.”
You’ve got to love a bit of PR blurb (well I do, because I used to write it!) and this gem, delivered with the latest release from UK based sextet The Room, certainly does capture the imagination.
On the subject of the album’s title, The Room comment that the concept of being ‘Caught By The Machine’ directly relates to the feeling one experiences when the state, a job, a relationship or even a drug begins to control their every living moment. It is a reflection on many aspects of the modern world, for better or worse.
Formed in 2010 by Andy Rowe along with Martin Wilson and Steve Anderson from neo-prog rock band Grey Lady Down, The Room never fail to deliver an outstanding performance – both in the studio and in a live environment.
I am going nowhere near the age old “Is it Prog?” debate with this review, I am judging everything on its own merits, after all it doesn’t matter what genre you may or may not think it sits in. There’s a simple question that needs to be asked, is it any good?
Well Martin Wilson’s vocals are on top form throughout, he has a commanding and powerful vocal style that really demands attention, the fact that is is very melodic just adds to the exciting mix. The addition of Eric Bouillette’s guitar, along with band stalwart Steve Anderson, adds a harder rock edge and some very impressive solos and the rhythm section of Chris York and Andy Rowe is as impressive and dependable as ever. April 2018 saw the departure of keyboardist Steve Checkley and the arrival of new keys maestro Mark Dixon who has fitted in seamlessly.
‘Caught By The Machine’ is a very tightly created collection of ten songs that have been crafted meticulously to the last detail (the Production by prog legend John Mitchell is particularly notable), excellent songwriting giving us gems like opener Bodies on the Road, The Golden Ones and Vanished. Tracks that flow perfectly from beginning to end with catchy chorus and exemplary musicianship.
The Room have created their own distinctive sound from debut release ‘Open Fire’ through to the sophomore album ‘Beyond the Gates of Bedlam’ and that continues on the latest release but here it has matured and become something very classy indeed. Driving guitars, swirling keyboards, a dynamic rhythm section and Wilson’s urgent vocals creating highs of the likes of Run, Drowning In Sound and my particular favourite: It’s Not My Home.
The reggae guitar infused Broken seems a little out of place to me but, other wise, there are no low points in this memorable album. I got to the end of the darkly delicious final track Bloodstream and just pressed play again.
‘Caught By The Machine’ shows a band who are evolving into a major player. Inventive, impressive and superbly crafted, the simple answer is yes, it is very good indeed…
Kino are set to release their new album ‘Radio Voltaire’ on March 23rd, 2018, arriving 13 years after the band’s much-loved debut ‘Picture’ back in 2005. It sees John Mitchell (It Bites, Lonely Robot) & Pete Trewavas (Marillion) teaming up once more, with Craig Blundell (Steven Wilson) on drums & John Beck (It Bites) guesting on keyboards.
Yesterday saw the release of the third and final track to be taken from the album prior to release, titled ‘I Don’t Know Why’:
Pete Trewavas comments: “This is a kind of Jellyfish/Queen inspired song which I wrote just towards the end of the first Kino album sessions. It was just too late to be on the record but I remember playing it to John Mitchell while we were at his finishing off the ‘Picture’ album. At the time I expected it to be on the second album, which never happened until all these years later.”
The album will be available on Limited CD Digipak (including bonus tracks), Gatefold 180g Double Vinyl (incl. CD) & Digital Download. Digital pre-orders on iTunes and Amazon receive ‘The Dead Club’ immediately. Pre-order now here: www.insideoutmusicshop.com
ecorded at the end of 2017, writing began at the end of that Summer. “We actually began the writing process in late August” says John Mitchell. “Pete had a few tunes and so did I, and we went from there.” Mitchell and Trewavas were both a crucial part of the original band more than a decade ago, with the former providing lead vocals and guitar parts, while the latter played his trademark bass lines and also contributed backing vocals.
Keyboard player John Beck, who is also a bandmate of Mitchell’s in It Bites, has been brought back. But while he was fully involved on the debut album, this time his role is that of a guest musician. “Yes, I am delighted to say we’ve gone John on board. His keyboard playing is splattered throughout the album, and I’ve also done the odd keyboard part myself.” The task of drummer this time fell to Craig Blundell, as Mitchell explains: “This time around Craig was the obvious choice to be the drummer, as far as I was concerned. I have worked with him so much that there was nobody else in the frame.”
Of the albums direction, Mitchell illustrates: “The title sounds very cool and obviously there’s a connection with the band Cabaret Voltaire. But Voltaire himself (the 18th century French philosopher) had a fascination with death, which appealed to me. He also stood for freedom of speech and freedom of religion. On top of that, I love the idea of a radio station that would reflect his views on life and cut through the bullshit which seems to be all over politics. Now, that is the type of radio station I think would reflect what a lot of us want to hear.”
The album cover has been designed by Paul Tippett, who is one of the most in demand artists of the modern era. “I like what he’s done with this sleeve. It reminds me of Moulin Rouge meets ‘Live And Let Die’. It is very striking, and I am sure everyone will have their own interpretation of what it reminds them of.”
The tracklisting can be found below:
1.Radio Voltaire
2.The Dead Club
3.Idlewild
4.I Don’t Know Why
5.I Won’t Break So Easily Any More
6.Temple Tudor
7.Out of Time
8.Warmth of the Sun
9.Grey Shapes on Concrete Fields
10.Keep The Faith
11.The Silent Fighter Pilot
Bonus Tracks
12.Temple Tudor (Piano Mix)
13.The Dead Club (Berlin Headquarter Mix)
14.Keep The Faith (Orchestral Mix)
15.The Kino Funfair
Thirteen years ago Kino opened the doors and eager fans flocked to the blockbuster ‘Picture’.
Starring a stalwart cast of Trewavas, Mitchell, Beck and Maitland, much was expected. Fans and critics alike gave the collaboration a warm reception and they toured venues with Spock’s Beard.
One may have expected to see this Super-group follow up their success with a ‘part 2’, or a ‘return of’, individual commitments permitting, but it all went quiet.
The projectors stopped rolling and the doors closed. Dust settled on the red velour seats, whilst spiders built webs across discarded popcorn containers and their remaining contents long since dried and adhered to the now moth eaten carpeted steps. The lights went out, the drinks machines dried up and a distinct musty hot dog scent drifted on the dust motes, floating across the sunbeams coming through the smeared window panes of the foyer.
Nothing in the last 13 years, barring a vinyl release of ‘Picture’, until, out of hibernation they emerge with new offering ‘Radio Voltaire’.
So what to expect, most of the original cast are back, starring John Mitchell (Lead Vocals/Guitar) and Pete Trewavas (Bass/Backing Vocals) with special guest appearance from John Beck (keyboards) along with a co-starring role for Craig Blundell on the drum stool, replacing Chris Maitland who had in reality already left the band before the release of ‘Picture’due to other commitments.
But this is a somewhat different affair to the first album and was a far shorter gestation period in the making, with the main driving forces being Trewavas and Mitchell (who also produced, coordinated and organised everything). Having been ready to start work on a further Lonely Robot album, it was suggested by Inside Out that Mitchell might consider the idea of a new Kino album and after a fruitful meeting with Trewavas unearthed the fact they both already had some material between them, they completed the writing process in August 2017. The recording process ran smoothly and was completed over the final two months of last year.
Will this album bring them back into the spotlights again and reintroduce the glitz and glamour of yesteryear to become another cinematic offering to great applause, or will it be confined to the bargain bins with lacklustre ‘B’ movies, as the ravages of time dealt their scorn and indifference?
With a striking album cover design from in demand artist Paul Tippet we’re off to a good start, let’s see. The lights go down, the curtain opens and the silent motion of the digital projection hits the screen…
A crackling German 1920’s radio announcement for Radio Voltaire the title track, preceding John Beck’s swirling keyboards before guitar punches from the gramophone speakers, settling into John Mitchell’s familiar voice building harmoniously on driving rhythms from Messrs Trewavas and Blundell, to epic guitar swashbuckling from Mitchell in his own inimitable style, as scene one fades in the echo of sonar.
Dusty German voices (must get the stylus cleaned) introduce the plunking keys of first single, The Dead Club, as heavy driving guitars and ‘spacey’ swirly knob/key twiddling projects into our ears as this scene races along, spewing PopProg fuel in it’s wake. Building into an edgy musical storm before the repeated track title from John 1 concludes with John 2 stabbing furiously at those terrified keys and we are blasted off track from a ray-gun synth. Kino are flying.
Gentle, haunting keys from the fingers of John Beck break the pace as John Mitchell pitches the emotional vocals and beautiful lyrics of Idlewild perfectly. Swelling gradually, it comfortingly fills all your instrumental emotions as you sit transfixed on the ballad playing out on the screen, dabbing at the corner of your eyes.
A pastiche of 70’s classic rock influences abound on track 4 which, without the guidance of our illustrious Director in Charge, Mr Mitchell could easily have fallen into a derivative mess. I Don’t Know Why anyone could possibly think this fabulously talented quartet wouldn’t pull it off, as they are all performing at the top of their game, adding just the right touches to keep it a refreshing, glittering smile and wink homage.
We are returned to a twenties, cobwebbed vocal/piano introduction (where is that needle brush?) which is suddenly robbed by a cheeky riff on The Who’s ‘Won’t Get Fooled Again’ from Mr Beck, as JM tells us I Won’t Break So Easily Any More. Blazing guitar work, throbbing bass and thundering drums between only slightly restrained verses, with a nod to a MMEB keyboard style, are all rolled into a perfect Kino energy bar.
A Baroque style, acoustic guitar and piano riff dance balletically round Temple Tudor castles, as the wistful lyrics are delivered with honest emotion, crafted beautifully.
The ticking clock with ringing alarm bell, breaks us from our reveries as we are rocked into a warning of our own mortality spanning genres and tempos as we are advised we are running Out Of Time. Pete Trewavas and Craig Blundell shine and glisten like polished glass, as they blend in and out of each other. The commanding bass rhythms are splashed with drops of time signatured percussion that leave you hanging on the edge of your seat wishing it would never end. Anyone who knows me is aware I am not a great lover of jazz, so believe me when I tell you this is a delicious feast for the ears.
Relax in hazy summer keys and soft wispy clouds of vocals as they float above us in the Warmth Of The Sunbasking in this soothing moment of relaxation.
Craig Blundell‘s percussive patterns navigate us back on board for the ride around Grey Shapes on Concrete Fieldschanging tempo and showcasing his phenomenal mastery with panache. Driven with keys, guitars and vocals on a race, hitting a breathless abrupt end, that comes all too soon for me. You just want tracks like this to never end.
If there is to be a ‘B’ movie actor on this award hunting album, it would be this track for me though I should Keep the Faith. There is nothing inherently wrong with the music or vocals, but it treads water after the fire of the previous track and the relaxing interlude before it. As the penultimate track it applies the brakes as we had just begun to press the accelerator down the finishing straight.
All is forgotten as the The Silent Fighter Pilot, flies into view for our final foray across the silver-screen, engines roaring defiance as it passes overhead. Telling the the story of a fighter pilot giving his life, through John Mitchell‘s embittered vocals with his raging guitar showering notes like bullets of vengeance. Struck by the futility of war, a fatal blow that sees the track spiral out of control to it’s tragic demise, in a haunting memory.
I’m struck silent for a minute and the Wow!
Wow! Wow! WOW!
‘Radio Voltaire’ is a must buy for anyone who liked ‘Picture’, who rate anything the band members have produced in the past, in fact all lovers of Prog music at it’s most sublime.
Everyone performs like their lives depend on it, with a joyous freedom to explore, whilst keeping the Kino sound they have built, but expanding the experience to ear busting IMAX levels.
I declare this cinema well and truly open for business and suggest getting your tickets booked, this could attract a full house, night after night.
Described by Prog magazine as sounding like “Queen having a barney with Dream Theater as Rush and Iron Maiden duke it out on the sidelines,” UK Prog Metallers HeKz have announced that their third album, “INVICTA”, will be released on Friday 20th April 2018 via BMH Audio.
Taken from the Latin word for “unconquered”, INVICTA is a celebration of perseverance and resilience. The ten songs come together to form a story of betrayal, loss, reconciliation and hope. Far from straying into the realms of fantasy, the songs are rooted in real experiences, reflecting the triumph and defeat that we all encounter on our journey through life and, in the case of the latter, how we can choose to be consumed by it, or fight on and emerge stronger.
“Each time we start a new album, it feels like we learn a little bit more about the DNA of HeKz and, at the same time, find new elements to add to it,” says Matt Young (lead vocals/bass).
“I feel that INVICTA is a great reflection of that, as you’re going to hear all of the things you’d expect from us but with some flavours we’ve never explored before. We’ve drawn on new influences for some of the songs, some of which would seem like an odd combination with the sound we’re known for, but we’ve tackled them in our own way and it blends superbly with what we do to create for some exciting moments in the album.”
“I think that this experimentation comes from allowing ourselves a little bit more time to collaborate on the songs this time, and the results of that combined effort have really lifted the album. I can’t wait for everyone to hear it!”
INVICTA was recorded at Liscombe Park & Visconti Studios, and the band’s home studios in and around London, and was mixed by producer extraordinaire John Mitchell (Lonely Robot, Kino, It Bites, Frost*, Arena) at Outhouse Studios, UK.
The album is currently available for pre-order from www.hekztheband.com, and will be released worldwide on Friday 20 April 2018. Fans who pre-order before Friday 23rd March will receive their copy one month before the official release date.
INVICTA Tracklisting
1. Quetzlcoatl (6:08)
2. For Our Lives (4:13)
3. The Light Fantastic (4:44)
4. To The Lions (5:10)
5. Ultimatum (6:07)
6. Line in the Sand (9:42)
7. Trecena (4:49)
8. Pariah (4:12)
9. The Devil’s Coin (15:03)
10. Victorious (5:39)
HeKz will be performing a select number of live shows to launch the new album:
Friday 23rd March – Parkvilla Theater, Alphen a/d Rijn, Netherlands
Friday 27th April – Winter’s End Festival, Chepstow, UK w/ MYSTERY
To keep up to date with all of this and more, join the band on social media and subscribe to their newsletter at www.hekztheband.com.
Web links:
www.facebook.com/hekztheband
www.twitter.com/hekztheband
www.youtube.com/hekztheband
HeKz are: Matt Young – Lead Vocals, Bass Al Beveridge – Guitars, Backing Vocals Tom Smith – Guitars, Backing Vocals James Messenger – Keyboards Kirk Brandham – Drums
Kino have announced the release of their new album ‘Radio Voltaire’, arriving 13 years after the band’s much-loved debut ‘Picture’ back in 2005. Out on March 23rd, 2018, it sees John Mitchell (It Bites, Lonely Robot) & Pete Trewavas (Marillion) teaming up once more, with Craig Blundell (Steven Wilson) on drums & John Beck (It Bites) guesting on keyboards.
Recorded at the end of 2017, writing began at the end of that Summer. “We actually began the writing process in late August” says John Mitchell. “Pete had a few tunes and so did I, and we went from there.” Mitchell and Trewavas were both a crucial part of the original band more than a decade ago, with the former providing lead vocals and guitar parts, while the latter played his trademark bass lines and also contributed backing vocals.
Keyboard player John Beck, who is also a bandmate of Mitchell’s in It Bites, has been brought back. But while he was fully involved on the debut album, this time his role is that of a guest musician. “Yes, I am delighted to say we’ve gone John on board. His keyboard playing is splattered throughout the album, and I’ve also done the odd keyboard part myself.” The task of drummer this time fell to Craig Blundell, as Mitchell explains: “This time around Craig was the obvious choice to be the drummer, as far as I was concerned. I have worked with him so much that there was nobody else in the frame.”
Of the albums direction, Mitchell illustrates: “The title sounds very cool and obviously there’s a connection with the band Cabaret Voltaire. But Voltaire himself (the 18th century French philosopher) had a fascination with death, which appealed to me. He also stood for freedom of speech and freedom of religion. On top of that, I love the idea of a radio station that would reflect his views on life and cut through the bullshit which seems to be all over politics. Now, that is the type of radio station I think would reflect what a lot of us want to hear.”
The album cover has been designed by Paul Tippett, who is one of the most in demand artists of the modern era. “I like what he’s done with this sleeve. It reminds me of Moulin Rouge meets ‘Live And Let Die’. It is very striking, and I am sure everyone will have their own interpretation of what it reminds them of.”
The album will be available on Limited CD Digipak (including bonus tracks), Jewel Case CD, Gatefold 180g Double Vinyl (incl. CD) & Digital Download.
The tracklisting can be found below:
1.Radio Voltaire
2.The Dead Club
3.Idlewild
4.I Don’t Know Why
5.I Won’t Break So Easily Any More
6.Temple Tudor
7.Out of Time
8.Warmth of the Sun
9.Grey Shapes on Concrete Fields
10.Keep The Faith
11.The Silent Fighter Pilot
Bonus Tracks
12.Temple Tudor (Piano Mix)
13.The Dead Club (Berlin Headquarter Mix)
14.Keep The Faith (Orchestral Mix)
15.The Kino Funfair
The following was scribbled on my phone as I watched from the vantage of the Merch Desk’s Forward command post (thanks to Brigadier Nellie Pitts).
It’s a good crowd of people with hair that time forgot… I’m jealous. My locks decided to leave me years ago, sacrificed to the trinity of job, mortgage and respectability. A plethora of tour t shirts… Yes, sundry variations on a theme of keep calm and prog /play on.
I can report that Nellie doing a brisk trade in robot paraphernalia
everyone seems to know each other and the atmosphere is good, a smell of anticipation in the air. I’m amazed that my hometown has all these like minded people.
Where do they hide? Why don’t I know anyone? Is the Lonely Robot me?
Perhaps Mr Mitchell and his crew will enlighten me. It will be an experience, seeing him on stage rather than nodding in passing as we orbit around Reading.
Sub 89 is filling up nicely and the band are on stage…
And they’re off, a quartet of songs from the debut album setting their stall out with panache and style. John Mitchell’s on stage banter is honed to a fine precision.
“Craig Blundell on drums – he’s not shit!”, being the first bon mot to raise a groaning cheer…
And the robot appeals to all, as can be seen from the Reading wildlife grooving to the first new song, a slow burn with gorgeous guitar and a hypnotic vocal.
More banter, “Ian Holmes, on bongos…”, then it’s their theme song, Lonely Robot, with its chiming guitars and thunderous drums… Some fine piano over that hypnotic drone, a robot’s soul exposed as a dark broody labyrinth of noise .
John is on fine form, singing with vigour and passion, then peeling off intricate guitar parts casually,the way only a true expert can. Equal parts Peter Gabriel and Chris Martin, he has a distinctive voice, suited to Prog or Pop.
For those of you unfamiliar with the Robot, they mix rock, prog and pop into a swirling mix that, like a black hole, draws you ever deeper in. There are flashes of Porcupine Tree guitar, those thunderous drums, a solid bass rumbling throughout and keyboards that fill out the few spaces left.
John now introduces his special guest, Kim Seviour to perform a track. Much more pop and upbeat, their voices fit and the music steams on. The hook line, “don’t forget me”, is an instant earworm and the song gets heavier until the middle 8 breaks down to a heartbeat drum pattern with some fine synth layers draped over it.
There is a commonality in Mr M’s work, from The Urbane through Arena and It Bites to The Robot clan, a melodic core, songs that burrow and charm in equal measure, vocal harmony as important as the instrument. “Are we copies” demonstrated that, with the impassioned vocals equal to the guitars.
We are then treated to a lighters in the air moment, as the next track floats over us, building the castle of sound, the voice and guitar increasingly emotive and the crowd rapt in attention, following the melody and swaying with the chorus. It was a beautiful moment. And finally, a vocal tour de force, Mr Mitchell and keyboards drifting weightlessly across our event horizon before Mr “Not Shit” thunders and bashes a drum piece, more demolition job than drum solo. He hits as hard as John Bonham and the electronic percussion effects add to the Bonham groove.
We are then warned that we are getting a velociraptor riff, a T- Rex, according to it’s creator , and the next track does just that, guitars roaring and snarling to a climactic finish.
Now for a short personal interlude, fellow passenger, Jane Armstrong has retreated from the front to recuperate and berates me for looking nothing like my Facebook avatar! It’s loud but very clear here at the merch desk, the band are in full flight now, and what a band they are, jamming away, first the keyboards taking the lead then John and his cybernetic guitar scything through the mix.
We then are treated to another of the new tracks, Sigma, which is all Nirvana approved quiet/ loud /quiet and another earworm chorus, great keyboards and stun guitar, in fact a fitting end to a great set.
So, there it was. The 4th Law of Robotics – “Thou shall Enjoy the sounds emanating from the Robot Clan , even if you know no-one, are run down and in need of a battery charge”.
After that set, my life meter was reading full again and I slipped off into the night, clutching a copy of the new CD that Nellie insisted I purchase as, “It’s alright and they’re OK people …”
Far be it from me to question the wisdom of a Prog Queen, but sat here listening to the CD, you know what? She had erred on the side of caution. It’s a great CD, well worth investing in.
‘To go to sleep and never wake up… to be simply not there forever and ever…
… That’s such a curious thought… that’s such a curious thought’
These spoken musings of an unidentified philosopher about sleep and death permeate the instrumental cinematic opening sequence Prologue (Deep Sleep)of Lonely Robot’s second album ‘The Big Dream’, and atmospherically sets the scene for an album which considers our mortality. Lonely Robot is a solo project from John Mitchell, renowned as guitarist, producer and vocalist with bands such as Frost*, Arena, It Bites and Kino. ‘The Big Dream’ is more reminiscent of Kino than It Bites, but such is the excellent quality and imagination of the ‘Lonely Robot’ project Mitchell has arguably now created material which surpasses the achievements of his time with either of those bands. Following on from Lonely Robot’s impressive 2015 debut ‘Please Come Home’, which featured a range of guest artists, in ‘The Big Dream’John Mitchell takes on all the vocal, guitar and keyboard duties to great effect, alongside his Frost* band mate Craig Blundell on drums.
‘The Big Dream’ once again showcases Mitchell’s strong song writing and distinctive fine guitar style, but also shows his excellent keyboard work throughout this musically dynamic album. Whilst this is an album of ‘Big Ideas’ it is largely expressed in a series of accessible and polished rock songs, alongside some more progressive cinematic passages. For John Mitchell the song is key and whilst he undoubtedly has the musical chops he is not about indulgent technique, preferring songs punctuated with memorable hooks and riding along on waves of melodic progressive rock, such as the ‘earworm’ song Sigma and it’s heroic sounding refrain.
Similarly to ‘Please Come Home’, once again the album has a science fiction context – not a concept album as such, but with recurring themes and featuring the central character of ‘The Astronaut’. However, whilst the previous album was largely associated with Space it appears in ‘The Big Dream’ The Astronaut wakes from a cryogenic sleep in a strange woodland. There are peculiar hints of a space age Shakespeare’s ‘Midsummer Night’s Dream’ with the gentle pastoral prog pop of Floral Green, featuring some delightful vocal dexterity from Mitchell, presumably supported by Kim Seviour (ex-Touchstone) on backing vocals. A short expressive guitar solo over sensitive keyboards skilfully illustrates this delicate number… sometimes less really is more.
In contrast Everglowblasts in like some sort of sci-fi movie spectacular with powerful, driving guitars intertwining with sparkling, pulsing keyboards, whilst Craig Blundell provides a remarkable drumming masterclass to drive this impressive highlight of the album along… oh, and Mitchell throws in yet another short but golden guitar solo before we rejoin the thunderous refrain and heavy curtain of sound that introduced the song. If that’s not enough we then segue into the lighter, dreamy and appropriately shimmering False Lights, in which Blundell initially shows a much more subtle side on percussion, before it builds in intensity and then recedes in echoes. Symbolic, is rather insistent, perhaps lacking some of the subtlety and in my view somewhat interrupting the flow of the cinematic sweep of the latter half of the album, but it’s still a trademark Mitchell finely honed rock song… which is no bad thing!
In 2016 John Mitchell released under his own name an E.P. called ‘The Nostalgia Factory’, featuring four cover songs (which is well worth seeking out). ‘The Nostalgia Factory’ included a fine version of the Phil Collins song Take Me Home and it sounds as ifThe Divine Art of Beinghas distinct echoes of that great anthem… which is a good thing! John Mitchell certainly knows how to pen a song with great melody and choruses that resound around your brain like The Divine Art of Being, a song which also highlights the great quality of his voice, perfectly suited to his pitch and intonation.
The Big Dreamfeels like the finale of the album and projects us into spacey, epic Floydian territory, reminiscent of A Godless Sea on ‘Please Come Home’. The Big Dream is widescreen in nature with a wall of grandiose, cosmic keyboards echoing the intro of ‘Awakenings’ over which a wonderful high pitched guitar swoops eerily. This is spectacular stuff which feels like a film soundtrack. As this evocative track closes the philosopher returns with his spoken musings on death and sleep and then in a direct link back to ‘Please Come Home’ we hear the strangely heartbreaking lines:
‘Please Come Home Lonely Robot, Your Heart is Beautiful, Programmed to Receive, We Miss You now Lonely Robot, Ever so Beautiful’
After the drama of The Big Dream there is a sense of release and optimism as the coda song Hello World Goodbye is like musical sunlight breaking through the clouds. A piano plays a simple melody before Mitchell’s almost whispered soft vocals resonate with optimism, beautifully backed by Kim Seviour, and Mitchell pours a lovely soaring, rippling but subtle guitar solo over the conclusion. Epilogue (Sea Beams), with it’s title hinting at the tragic replicant Roy Batty from ‘Bladerunner’ (the ultimate Lonely Robot?) is a delicate ending, feeling like the end credits for a movie. The elegiac whistle like sounds underline the nautical but cosmic connection and underlines the emotion at the core of this remarkable album. John Mitchell has released a remarkable album which subtly conveys meaning and depth with accessible and finely written songs.
The juxtaposition of machine and emotion in the ‘Lonely Robot’ project is peculiarly touching, and one wonders if many of us lead similarly robotic, regimented lives, not knowing how to escape or truly express our inner feelings…
