John Mitchell – Page 3

Review – TILT – Hinterland – by Progradar

“Do not live in the shadow of the masters for ever. Learn to live in the light of your soul. Life deserves full expression.”
― Amit Ray

Robin Boult (guitars), David Stewart (drums, percussion) and Steve Vantsis (bass guitars, electric & acoustic guitars, keyboards, programming) have been in the shadow of a giant of the Progressive genre while recording, writing and touring with prog legend FISH over the years.

Now, with their new project TILT, it is time for them to come out, front and centre, and be the focus of attention. Steve, being responsible for most of the writing of the last two well received Fish albums, ‘13th Star’ and ‘Feast of Consequences’, also has definite pedigree as a songwriter.

Over 5 years in the making, ‘HINTERLAND’ is the long awaited debut album from the band and follows on from their acclaimed debut EP ‘Million Dollar Wound’. ‘HINTERLAND’ has over 60 minutes of new music and the three core members are augmented on this endeavour by guitarist Paul Humphreys and singer PJ Dourley.

TILT are also joined on this release by keyboard player John Beck (It Bites) and guitarist John Mitchell (Lonely Robot/Kino/Arena/It Bites) with John Mitchell also responsible for the final mix.

I got sent an early mp3 download of ‘HINTERLAND’ by Steve and have given the album many listens, it has now cemented itself as one of my favourite releases of the year and now I’ll tell you why…..

“Language taught, Instinct not

Society lost, Trauma is forced…”

The album is book-ended by two brooding and slow burning tracks that compliment each other. Opener _Assembly begins with some obscure static noise before a deliberate percussive beat, metronomic in its perfection, hypnotises you into the slow laid back feel of the song. It’s quite ominous and portentous as the tempo increases slightly, almost like a heartbeat in the background.

Here you get the first impression of PJ Dourley’s impressively distinct vocal as he delivers the gripping tale to an engrossed audience, keeping you on tenterhooks, that haunting percussion and keyboard sound covering everything in a layer of anticipation. The layered vocals are a nice touch with the more expressive voice overlaying a robotic stanza.

A dramatic guitar riff, urgent and dynamic, then takes over along with some forbidding sounding keyboards to leave you on the edge of your seat, bated of breath, wondering what’s coming next. The vocals take on a pleading manner…

Save me!

Before the track concludes in a rather prophetic manner, a really impressive opening to the album.

“Your eyes are filled with wanted dreams, The strangest shade of green, I’ve never seen before…”

Hinterland is a total rock-fest from start to finish, from the ‘in your face’ manic riff that the guitar beats you over the head with to the frenetically exciting drumming and the ever present stylish bass. Add in the elegant keyboards and PJ’s vibrant vocal and there isn’t much that can go wrong. This is a talented group of musicians who are at the top of their game and it shows.

There’s a super verse where things calm down a bit with a lovely guitar tone and ever more catchy vocals and you just find your self rocking along with this really upbeat song. We have a pause before that concussive riff returns with a slightly off-kilter piano note, just to make sure you’re taking notice and then we are off again, there is only one thing left to do, turn the volume up to 11!!

“Touch, don’t feel and know how this ended. It’s death but it’s not real, when truth is suspended…”

Time for a change of pace and lull in proceedings, Against The Rain is a superbly emotive song with the delicate piano and dreamy synth sounds backing the touching and affective vocal delivery. Almost dreamlike in delivery, it is a track that draws you into its warming embrace and heartfelt warmth and sentiment.

Reflective, it leads you pausing to gather your thoughts with its intelligent construction and demeanour. The gentle percussion and sympathetic guitar just add a lustre of sepia tinged nostalgia and, as it comes to a close, a feeling of compassion and well-being washes over you.

Talk about down and dirty riffs, the opening to No Superman hits you right in the solar plexus. A really low down and muted sound that then opens up and just nails it. Imagine taking some of the best 90’s grunge music and melding it with some modern prog metal and you wouldn’t be far off. The vocals have an edge to them and the drums are huge but it really is that monster riff that grabs my attention.

Deliciously dark and dangerous it is one of those tracks that leaves you feeling a little bit naughty but thoroughly entertained. PJ Dourley gives his best Scott Weiland impression (minus the illegal substances, obviously!) and seems to be really enjoying himself. Add in a little lull to let you get your breath back, rapidly followed by a hugely caustic, fiery riff and you really couldn’t ask for a more hard rocking track.

“Don’t look now, looking straight down, Reach for the sky, live or die..”

Even when you really like a whole album, there’s the one track that really grabs you and, for me, on this release it is Growing Colder. ‘HINTERLAND’ is a brilliant collection of songs but, for whatever reason, it is the slower, more brooding tracks that resonate with me most and the sombre and pensive opening to this song fits that brief perfectly. Wistful guitar, drums and keyboards lay the foundation for PJ’s melancholic vocal delivery, sad and downbeat and yet striking nevertheless.

There is a dolent tone running throughout with the supine, almost dreamy, rhythm almost lulling you into a hypnotic state. The build up to the hugely impassioned and affecting chorus is superb and I always find myself singing along at the top of my voice.

This is one of those tracks that you find yourself listening to three or four times in a row, it really is that good. The combination of the muted verse and stirring chorus really is something special and, as I listen to it again, it is making the hairs on the back of my neck stand up. The closing out of the song with string effects is utterly poignant.

“You look at me like you’re hypnotised, just blindness left behind your eyes…”

A hard rock track with a progressive edge, Strontium Burning is another one with a slow burning opening that builds slowly before flaring up and powering away into the distance. A definitive guitar note and powerfully dynamic drums are the driving force behind this track, all held together by the unobtrusive bass line. There is a raw energy struck through the centre of this restless and impatient song that you can hear in the delivery of the vocals, an elemental force that is embodied in the compelling and dexterous guitar solo that dominates the end of the track.

“Bleeding, holding onto the edge of my luck, I’m breathing, Trying to get out of here but I’m stuck, My soul’s gone…”

Bloodline was the lead single from the album and, like the title track, is more akin to a hard rock track than progressive but still, at nine minutes long, there is still a whiff of Prog about it. A low-key and subdued undercurrent of an opening makes way for a determined guitar riff and rhythm section, urgent and straining at the leash before the throttle is notched back a bit and the vocals come in, searching and probing. I say it has more in common with hard rock but, here especially, there is a feel of early Porcupine Tree serious feeling heaviness.

There are some intricate melodies playing in the background but, when the powerful chorus fires out, that more mainstream rock angle returns. It is quite a clever mix of styles with some subdued, complicated sections weaving between the more straightforward rock themes and gives TILT there own definite sense of identity. There’s quite a long outro to the song, brooding and self-involved that sets you up for the final track on the album….

“Is there no God, There’s only me, I watch them pour from church, like warriors lost in battle…

Disassembly_, the partner track to _Assembly, opens with a very moody keyboard note that gives a hushed atmosphere of anticipation before there is a sort of awakening, a keening keyboard and guitar tone that is quite abstract in its mysterious feel, almost oriental in fact. That enigmatic aura is only enhanced by PJ’s vocal delivery, precise and esoteric, as he sings over a laid back, electronica inspired, backdrop.

Calm and collected, his voice is almost like a mantra that your mind follows though this delicate maze of ambient progressive music that seems to flow all around you. Guitars join in to add some substance but, all the while, keeping the mystical feel. This song always makes me stop what I’m doing to let the music wash over me and fill my entire being with a feeling of fulfillment and, as it comes to a close, I just feel relaxed and as calm as can be.

What TILT have delivered is a superb album by a cast of very accomplished musicians. Brilliant vocals, burning guitar solos, a thunderous rhythm section and songwriting of the highest quality combine to deliver one kick ass release that I keep returning to again and again. A fine combination of excellent rock music with all that’s best about progressive rock, these guys show how it really should be done!

Released 30th June 2016.

Buy the ‘Hinterland’ CD from Burning Shed

Buy digital copies of ‘Hinterland’ from bandcamp

Tilt to release new album ‘Hinterland’ on 30th June 2016

Over 5 years in the making, ‘HINTERLAND’ is the long awaited debut album from progressive rock band, TILT.

Following on from their acclaimed debut EP ‘Million Dollar Wound’, ‘HINTERLAND’ has over 60 minutes of new music.

TILT members Robin Boult, David Stewart and Steve Vantsis are all probably better known for recording, writing and touring with prog legend FISH over the years. Steve Vantsis was also responsible for most of the writing of the last two well received Fish albums, ‘13th Star’ and ‘Feast of Consequences’. They are augmented by guitarist Paul Humphreys and singer PJ Dourley.

TILT are joined on this release by keyboard player John Beck (It Bites) and guitarist John Mitchell (Lonely Robot/Kino/Arena/It Bites) with John Mitchell also responsible for the final mix.

‘HINTERLAND’ is exclusively distributed by Burning Shed and is available to pre-order now with an exclusive signed postcard by the band for initial orders at:

www.burningshed.com

The radio edit of ‘Bloodline’ can be bought or streamed at:

Tilt – ‘Bloodline’ – Radio Edit

www.tiltband.co.uk

Review – Frost* – Falling Satellites – by Progradar

“You can decorate absence however you want- but you’re still gonna feel what’s missing.”
― Siobhan Vivian

Bloody hell, I didn’t realise it has been 8 years since Frost*, the brainchild of seminal keyboard wizard Jem Godfrey, released their last album ‘Experiments In Mass Appeal’.

This was a band who I saw supporting Dream Theater in Leeds and, despite the fact I’d never heard of, or anything by, them, was utterly blown away by the combination of incredibly complex keyboards and fizzing guitars which, combined with impressive melodies, gave us the breath of fresh air that was the ‘Milliontown album in 2006, one that is still revered in hushed tones to this day.

My love of Dream Theater began to wane in earnest that evening but I have been waiting with bated breath for news of a new Frost* album.

So, to bide the time awaiting the new record I came up with imagined scenarios as to what Jem could have been up to in the intervening years (I know, I need to get out more).

Have any of you watched DC Comic’s The Flash? I bet a few of you have but, if not, a quick summary.

Uber genius Harrison Wells has his own particle accelerator (like you do) at his company Star Laboratories which goes into meltdown and causes a huge explosion. Some of those caught up in the blast end up with super powers, Meta-Humans, some good and some bad.

Now, imagine if our Jem was one of those caught in the fallout and his supercharged, manic energy came as a result of the Star Labs explosion? (still with me?, good!) and he has been kidnapped by some evil Bond villain and forced to sit in a room and churn out turgid mainstream hits for the last 8 years?

Enough to send you mad, you would agree? Not Mr Godfrey, upon his exciting escape, he set about writing the latest Frost* album ‘Falling Satellites’ and put all of his near 8 years in captivity into this latest bombastic musical extravaganza!

On ‘Falling Satellites’ Jem Godfrey is joined by long term collaborator John Mitchell (Lonely Robot/It Bites) on guitar and vocals plus Nathan King (Level 42) on bass and drummer Craig Blundell (Steven Wilson).

“This line-up has been in existence since 2010 and is now the longest version of Frost* that there’s ever been”, says Godfrey, “so it’s strange to think that this is the first time we’ve recorded an album together”.

There are 11 songs in total with the final 6 songs forming a 32 minute long suite called “Sunlight”. Within this collection of songs comes an unexpected guest appearance from none other than Grammy nominated guitar legend Joe Satriani.

As to the album’s theme… “It’s about chance and life. The astronomically unlikely chance of being conceived to start with and then surviving to old age”, Godfrey says, “the near impossible odds of the things that happen to you in life benefitting you rather than killing you are gigantic and yet it happens all the time. It’s about celebrating how extraordinarily rare the period of us being alive is and how we should take more time to appreciate it while we’re here. We’re a long time dead at either end of this brief little flicker.”

What were we going to get after eight years? opening number First Day is a short introductory track that has Frost* writ large all over it, reverential keyboards and hushed, breathy vocals given a real sense of anticipation before we get into the new music proper…. Numbers showcases the new high energy prog/pop style perfectly with a funky keyboard intro, full of energy and innovation. The harmonised vocals are excellent and you just find yourself toe-tapping madly to the addictive sound of crunchy guitars and Jem’s manic keyboard style. The fast paced guitar licks and solo add even more impulse to this high octane four minutes of near-perfect musical vivacity.

How do you incorporate dub-step into progressive pop music? I have no idea but Jem Godfrey obviously does! Towerblock begins in quiet, reverential fashion, all calm and collected before all hell breaks loose and a really dynamic and grungy keyboard takes over. To be honest I had no idea what to make of it at first but, do yourself a favour, just go with the flow and it soon starts to make addictive sense as it gets under your skin. Flowing, fluid and off the wall keyboards writhe around never quite letting your brain comprehend them and Jem’s fiercely protective vocal gives a serious edge. It really shouldn’t work but it does, gloriously, as you find yourself playing air keyboards and jumping up and down (what do you mean, you didn’t?). One of the most innovative and fresh tracks to hit progressive rock in many a year, I loved it, the utterly demented keyboard and drum frenzy that closes out the song is inspired.

The calm after the storm, Signs begins as a wistful and whimsical delight with carefully delivered vocals before opening up with a monster riff and some towering keys. The rhythm section of King and Blundell (new cop partnership anyone?) ably providing support. the track flows between these calm amd collected verses and the lofty and imposing chorus where the organ-like keyboards add a real note of veneration. A superbly crafted piece of songwriting with some punchy powerful riffs that showcase Mr Mitchell’s guitar prowess and an utterly compelling performance behind the kit from Craig Blundell. This song sees a more influential return to the expansive and charismatic soundscape well beloved of Frost* fans everywhere and brings a smile to my face. Oh you thing of infinite wonder and delight, Lights Out is a gorgeous little track that pulls at your very soul with its unclouded resplendence. The keyboards have an ethereal edge to them, Craig’s drumming is sublime and the vocals have a soft yearning feel underlying them. A touch of longing fills your soul and you drift away on a cloud of well-being, notably Frost* but with a new and stylish veneer. Belay that feeling of goodwill, the high-energy intro to Heartstrings takes no quarter and fills you with a feeling of expectation. That keyboard heavy sound returns and the instantly recognisable and harmonised chorus could only be Frost* at the height of their powers. Like a white water ride in a tumbling raft, the irrepressible dynamics of the song pull you along in their wake, an utterly willing victim of its charismatic persona. The final repeat of the chorus feels like an outpouring of emotion as the track closes out with a hook filled ending.

The whole album is full of superb tracks and this is only intensified with Closer To The Sun. Another fine exponent of the new found pop sensibilites it just feels right. The introduction is catchy, upbeat and utterly persuasive and has a feel of lazy summer days without a care in the world to it. The vocals are kept in the background and everything is expertly subdued before John Mitchell delivers another spellbinding guitar solo that squirrels through your mind, touching every sensory receptor before making way for Jem’s potent and progressive keyboards that tell a musical tale all of their own. Zone out these two musical maestros though and you can hear the notable chops that Nathan and Craig bring to the party. If the previous track was smoother than an otter’s pocket (thanks to Robin Armstrong for that gem) then (deep breath all) Raging Against The Dying Of The Light – Blues in 7/8 is as forceful as a tsunami. The thunderous opening is dominated by the evil sound of Jem’s keyboards, literally blowing everything out of their path. The vocals have a real dark edge to them, forceful and demanding and Craig really gives his kit a work out. The real star of this track though is the hugely demonstrative tone of the keys as they forge their own way, brooking no argument. The occasional lulls only seem to enforce the aggressive and potent intent of the rest of this red-blooded track, it’s like Frost* on something entirely illegal, it shouldn’t be allowed, just be glad it is! I do like a good instrumental from these boys and they really scaled the heights with Hyperventilate from ‘Milliontown’ so it was great to know that ‘Falling Satellites’ would feature it’s own. Nice Day For It….. is another great track, technically it’s not fully instrumental but you’ll forgive me that foible I’m sure, that just seems to flow perfectly from beginning to end, all the musicians working in perfect harmony to deliver a near flawless slice of melodic precision that is just bliss to the ears. It rises and falls superbly, the keyboards being the driving force once again, guitar adding the finishing touches and drum and bass playing the perfect wingmen.

Hypoventilate is a two minute wall of sound, a musical force of nature that blots out the Sun around it. An slow burning, brooding and intense musical experience that just knocks you over, leaving you senseless before the gentle persuasions of Last Day pick you up and get you back on your feet again. The tender, mellow piano matching the placid, if a little care-worn, vocals to close out ‘Falling Satellites’ in a nostalgic, sentimental, even slightly regretful, manner.

So, after an eight year hiatus Frost* have returned with a triumphant third album that ticks all the relevant boxes for this tired old music hack. Definitively Frost* and yet with a distinctive lustre and some rather inspired new sounds that give it even more depth. Instantly accessible but, also, with untold layers of sophistication, oh bugger, this musical year just keeps getting better and better!

Released 27th may 2016.

Pre-order ‘Falling Satellites’ from The Merch Desk

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