Review – Liquid Tension Experiment – LTE3 – by John Wenlock-Smith

This is the long awaited (and long time in coming!) third album from Dream Theater spin-off fusionists Liquid Tension Experiment. A band formed out of the prog metal legends and who recorded 2 albums with the nucleus of Mike Portnoy (drums) Jordan Rudess (keyboards) and John  Petrucci (guitar), aided by Tony Levin (bass and chapman stick). Although, to be honest, Jordan only actually joined Dream Theater after the second LTE album and then, as we all know, Mike left in 2010 and further LTE activity looked decidedly unlikely. Well that was the case but two things happened that led to the resumption of activities, these were the worldwide covid virus and the cessation of all touring activities and the other was Mike drumming for John’s latest solo album, ‘Terminal Velocity’. This led to a window of opportunity opening to reconvene LTE once again and cut some new music together. Same crew, same members, just 21 years later…

How wonderful to hear from these folks once again, welcome back my friends to the show that never ends, as ELP once sang.

There is one major change though, the album receives its release through Sony/InsideOut rather than Magna Carta, the label that hosted the first two Liquid Tension Experiment albums in 1998 and 1999 respectively. And, of course, Mike left Dream Theater in 2010, moving onto pastures new. The desire for all to reconvene and record together never really went away, these four musicians have exceedingly high regard for each other’s abilities and enjoy the freedom to make a different type of music together.

Well, that is the backstory to the album let us have a listen to what you can expect from this third instalment of LTE.

The album has a run time of just over 61 minutes, although there is another 50 odd minutes of music on the deluxe  CD version. I have not heard that yet, so I can comment, except to propose that this will probably be in a similar vein to the main album, just with longer tracks allowing even more musical virtuosity.

The album opens in rip roaring fashion with Hypersonic coming off the grid like a supercharged Bugatti Veyron firing on all cylinders. The band certainly show that they mean business with bass, drums and guitar spearheading a three pronged sonic attack. The track fair thunders along with barely room for breath, aside from a few keyboard interjections from Jordan, who layers his synths across the maelstrom the other three are creating. It really is an highly impressive opener indeed although you could say it’s a bit of a marmite piece, if you like it, you’ll want to stick around for the rest of the disc however, if it is not to your taste then that’s fine, go and listen to something else and leave the rest of us here in musical ecstasy. That said, after three minutes 15 seconds of this ultra-fast beat, they take a breath and slow things down intensity wise and allow John some room to play a solo passage along with some subtle bass from Tony and support from Mike, Jordan’s stabbing keyboards also providing some great dynamics to the piece. Jordan plays some flowery synth lines in the closing minutes before John and Tony play a dual passage line together preceding the resumption of the frenetic opening first passage. This piece is simply awesome and a great song to start with.

The second song is called Beating The Odds and opens with some furious riffing from John before Jordan lays down some fabulous synth lines. There is a very strong groove to this track which opens out with some very fluid guitar before a punishing riff is played over which Jordan solo’s wildly using his keyboards to stage his own aural assault on the senses. Everything is flawlessly backed by the inventive and impressive rhythm section yet, even in all the mayhem, there is still an extraordinarily strong melodic element here at play. This is all impressive stuff musically.

Liquid Evolution follows, which is basically a duet between bass and keyboards. This piece lays off the bombast and urgency of the earlier tracks to create a different, and more chilled, vibe to it. After the energy of the first two pieces you welcome the change of pace and the chance to both catch your breath and also to pick your jaw up from the floor where the opening salvo of the first two tracks have probably put it! It makes it far subtler in both pace and tone but still packs an impressive groove.

Then it is back to the overkill and surging power with fourth track The Passage of Time, with its sinewy riff snaking outwards. This one gives Mike some space to show off his impeccable timing and chops whilst Jordan adds some excellent piano parts. It really rocks out for sure, although its brutality is tempered by melodic sensibilities making it an impressive calling card, only made better by John’s atypical solo. That guitar riff is so brutal and powerful though that it almost melts your face off, were it not for Jordan’s interjections to anchor the track in melody. Again, the more I listen to this, the more I hear the interplay of the instruments and the overall melody that the track offers.

Track 5 sees the return of Chris and Kevin in Chris and Kevin’s Amazing Odyssey, a duet between Tony and Mike, giving a chance for Tony’s bass to take centre stage on par with the pounding drums of Mr. Portnoy once again. This is a shorter track but is still worthy of the space afforded to it, it is a joy to hear the fine bass playing of Tony Levin so lucidly.      

Gershwin’s Rhapsody In Blue is next, but probably not in a format that you are familiar with. Basically, it gets the full LTE kitchen sink experience and gives ‘over the top’ a new meaning. The track is shamelessly overblown and all the better for it too! there are some fantastic sections to this performance making it probably my favourite on the whole album. The song is long too at 13:16 however, there is not an ounce of excess fat on this piece, it is all killer no filler (as it were).It really belongs to Jordan whose keyboards glide effortlessly through the song, retaining its melody amidst all the grandiloquence of the track, utterly fabulous stuff.

Shades of Hope is totally different and far more chilled, opening with piano and a floating guitar line, played very fluidly here. This piece bleeds emotion for its complete duration, an exceptionally fine track indeed.

Key To The Imagination closes out the album, it has a recurrent heavy guitar riff running throughout against which Jordan is playing some great synth fills and orchestral voicings along with John’s sweet guitar lines. Tony holds down the bottom end in his usual eloquent manner whilst Mike’s drum hold this mix together. It really is really very good indeed and gives equal room for each player to shine in their respective field and brings things to a great end with its almost middle eastern sounding tone, it really impresses.           

Well, that 61 minutes went by fast and I was sure impressed by all that I heard. I urge you to give it space in your listening as here we have four maestros all playing at the very top of their game, taking chances and making some utterly fabulous music.

Miss this one at your peril!

Released 16th April, 2021.

Order from Burning Shed here:

LTE3 (burningshed.com)



John Wenlock-Smith Interviews Jordan Rudess

John Wenlock-Smith – Good afternoon Jordan, how are you doing now?

Jordan RudessHello John, yes, I am doing fine thank you. We are all safe and well as can be at this moment in time.

JWS – Lets talk about ‘LTE3’ (The forthcoming new album from Liquid Tension Experiment) that is due out in April, I have a download of it and I think it is a fabulous set of pieces, I really like it.

JROh I am glad that you like it. I was not quite sure what you were going to say but I like a lot too. I am enormously proud of what we managed to get done, especially with this pandemic. It allowed us a window of opportunity to allow LTE (Liquid Tension Experiment) to be once more. It has only taken us twenty years in which a lot has changed but some things have not changed much at all really. We are still the same musicians, just a bit older now but still willing to try this experiment once again. Hopefully the response will be positive from all quarters, like the Dream Theater fans and the fusion fans too.    

JWS – I Like it, the opener Hypersonic is certainly fast and furious, was that deliberately so?

JRYes, we wanted something that would either attract or dispel the listener, I think that we succeeded on that score.

JWS – I agree, I think it set you up for all that is to come. I especially like the track Rhapsody In Blue, a reworking of a piece previously played live.

JRI have always liked that Gershwin piece, although it has been so long since we last did that song that I had to rethink my approach on keyboards to do it.

JWS – Well I think it is a stunning take on what is a classic musical piece. What other songs do you especially like? I see you have your piano right there, play me something please will you?

JRWith pleasure, this is the song Shades Of Hope (Jordan then proceeds to play this jaw droppingly fantastic piano line from the song, his playing is impeccable and for an audience of one!)

JWS – Wow! thanks Jordan, that was fabulous. I have just bought an 88 key digital piano for myself ,although It will be years before I am anywhere near proficient.

JRWell, keep playing, is what I would say to you. I started when I was 9 years of age and I am now 64 but I still love music as much now as when I first started, possibly even more so truth be told.

JWS – I am looking forward to getting the new album. I am going to get the 2CD version with the extra tracks on it, those sound interesting, although I’ve yet to hear them.

JROh you will like those I think, we got to do even more wild playing for those.

JWS – So how did those sessions work out?

JR Well, we recorded it at Dream Theater’s New York base of operation. I kind of thought it might be odd for Mike (Portnoy) as he’d not been there since he left the band but he was totally cool with it all and even offered some memorabilia for the complex. But, overall, it was just great fun, four friends who value each other musically and socially. Tony (Levin) brought his famous coffee machine again to keep us going, it was all such a great vibe. I think the results honour the commitment made by each member to the proceedings.

JWS – Did you use your normal Dream Theater keyboard set up?

JRPretty much, although I did tweak a few sound settings. John (Petrucci) pointed out that my sound was a bit stale sounding and, as he is the master of tone, I listened to his suggestions and we got to the sound that we felt was what we wanted.  

JWS – So will there be any opportunity for some live LTE shows? Possibly when covid is over and activities resume normally?

JRWell I certainly hope there would be but only once we have sorted out activities for the main band. We are all busy, Mike is always busy with either Neal Morse or his own projects, as is Tony with all that he does. We are all remarkably busy hence the twenty years gap between ‘LTE2’ and this new album.

 JWS – Have you been active during lockdown Jordan?

JRYes, I have been busy with my sound company and I have also recorded a new solo album. I have also been busy with my Patreon site, using it to connect to other people. Depending on their support level, they can access tutorials and even have a one-to-one conversation. My latest solo album ‘Chapter In Time’ is on bandcamp only.

Check it out, it is just me playing mainly piano pieces and a few textural keyboard sounds to create some ambient type of music. I think you might like it, is mellow and chilled, good to relax to or listen to in the background. 

JWS – I also saw your performance of Tarkus on the recently issued Keith Emerson tribute concert. That was some performance of the whole of Tarkus!

JRThank you, Tarkus is an important piece for me, that is the track that stopped me being just a classically trained pianist and made me want to rock out. So I owe Keith Emerson a huge debt of gratitude for that song, it was a privilege to be able to honour him in that way.

JWS – I agree, I have also got that on CD and I have your own version on ‘The Road Home’ album.

JRThat’s a good album, I like that one, with some great players, Neal Morse, Rod Morgenstein and Kip Winger, Nick DiVirgilio, and Ron ‘Bumblefoot’ Thal, amongst others. I had a lot of fun with that album paying tribute to some of my influences.   

JWS – So what does the future look like for you, apart from this new ‘LTE3’ album? oh, very impressive artwork by the way!

JRYes, I think it is terrific too. For me, it’s more Dream Theater, once we can get back together safely and tour once again. I am 64 now and still love this life and I appreciate every day that I get to live it too.

JWS – Jordan, my time has gone so all that remains for me is to say a huge thank you for making the time to speak with you. I have really enjoyed my time with you, I wish you well for this album and hope to see you live at some point in the not too distant future.

JRThanks John for a great interview, all the best to you too, my friend.

You can order Jordan’s solo album here:

A Chapter In Time | Jordan Rudess | jordan rudess (bandcamp.com)

And you can pre-order LTE3 here:

LTE3 (lnk.to)

LIQUID TENSION EXPERIMENT – Release video for first single “The Passage of Time”

Album ‘LTE3’ due out March 26th, 2021

LIQUID TENSION EXPERIMENT, the legendary supergroup comprised of Mike Portnoy (Transatlantic, Sons of Apollo), John Petrucci (Dream Theater), Jordan Rudess (Dream Theater), and Tony Levin (King Crimson, Peter Gabriel) recently announced their return with a new album titled ‘LTE3’, due to be released March 26th, 2021 via InsideOutMusic, twenty-two years after the bands’ last studio album.

The band are pleased to share the first video from the album for the single “The Passage of Time.”  You can watch the video, created by Christian Rios, here:

“’The Passage of Time’ was the very first song we composed together when we reunited this past summer. It was so exciting to be back in a room creating together again after so long (22 years for all 4 of us and over 10 years for the 3 of us since being together in DT).

This serves as a great first taste for the listeners as it combines so many of the musical elements that makes LTE unique”

-Mike Portnoy

“This was the first song we worked on and when it was done, we all knew once again how amazing it was to be working together. We knew we were on to something and that this was going to be a really amazing album. Nothing about the passage of over two decades could’ve done anything to change that. To me this song truly reflects the collaborative songwriting efforts of all four of us.”

-John Petrucci 

There is an undeniable chemistry that happens when the four of us are together.  Entering the studio and starting work on ‘The Passage of Time’ after 22 years literally gave me a whole new perspective on these important musical (and personal) relationships and the way time is so relative. We just jumped right in, it was like no time had passed at all, and we created a song that has so many of the elements that make LTE unique. Not a day has gone by since our last release when I wasn’t asked, “When is LTE getting back together again?” Now we can finally deliver, and I can’t wait for everybody to hear our creation.”

-Jordan Rudess

“From the murky depths of the lockdown, LTE has re-emerged, galvanized, dripping with ideas, and taking no prisoners. ‘The Passage of Time’ is just the beginning.”

-Tony Levin 

The pre-order has now started and the album will be available in the following formats:

•Limited deluxe hot pink 3LP+2CD+Blu-ray Box Set (incl. a poster and 4 artcards, Blu-ray incl. a 5.1 surround mix with visuals, and full band interview from the studio)

•Limited 2CD+Blu-ray Artbook

•Limited 2CD Digipak

•Gatefold black 2LP+CD

• Digital album (2CD)

You can pre-order ‘LTE3’ now here: https://liquidtensionex.lnk.to/LTE3/

Tracklisting: 

1. Hypersonic (8:22)

2. Beating The Odds (6:09)

3. Liquid Evolution (3:23)

4. The Passage Of Time (7:32)

5. Chris & Kevin’s Amazing Odyssey (5:04)

6. Rhapsody In Blue (13:16)

7. Shades Of Hope (4:42)

8. Key To The Imagination (13:14) 

Bonus Disc: Includes almost an hour of improvised jams. 

LIQUID TENSION EXPERIMENT – Announce details for new album ‘LTE3’

 Album due out March 26th, 2021 

2020 came to a close with LIQUID TENSION EXPERIMENT announcing their return and new album to be released on InsideOutMusic. Today, the legendary supergroup comprised of Mike Portnoy (Transatlantic, Sons of Apollo), John Petrucci (Dream Theater), Jordan Rudess (Dream Theater), and Tony Levin (King Crimson, Peter Gabriel) are pleased to officially announce that the new album ‘LTE3’ will be released on March 26th, 2021 via InsideOutMusic, twenty-two years after the bands’ last studio album. 

“After over 20 years since the last time we recorded together, the four of us stepped into the studio and it was as if no time had passed at all! All of the magic that made the first two LTE albums so special was still there and we had such a great time making this record. I’m extremely proud of what we created together and can’t wait for everyone to hear it!”

-John Petrucci 

“The best thing to come out of 2020 was this long-awaited reunion! And it was surely worth the wait as after all these years, the magic chemistry was still there and stronger than ever!”

-Mike Portnoy 

Tracklisting: 

1. Hypersonic (8:22)

2. Beating The Odds (6:09)

3. Liquid Evolution (3:23)

4. The Passage Of Time (7:32)

5. Chris & Kevin’s Amazing Odyssey (5:04)

6. Rhapsody In Blue (13:16)

7. Shades Of Hope (4:42)

8. Key To The Imagination (13:14)

Bonus Disc: Includes almost an hour of improvised jams.

The pre-order will start on January 22nd 2021 and the album will be available as:

•Limited deluxe hot pink 3LP+2CD+Blu-ray Box Set (incl. a poster and 4 artcards, Blu-ray includes a 5.1 surround mix with visuals, and full band interview from the studio)

•Limited 2CD+Blu-ray Artbook

•Limited 2CD Digipak

•Gatefold black 2LP+CD

• Digital album (2CD)

Watch the recently released teaser trailer, created by Christian Rios, here: 

In 1997, Mike Portnoy, John Petrucci, Jordan Rudess, and Tony Levin, joined forces to create Liquid Tension Experiment. The foursome would release their iconic, self-titled debut album in 1998 and the dazzling follow-up, LTE2 in 1999, creating a dynamic, frantic, and inventive sound all their own. The incredible creativity between the collective would prompt Petrucci and Portnoy to invite Rudess to join Dream Theater, effectively marking the end of this side project.  However, since that time, there have been few reunions more in demand. Now, with the world in lockdown and calendars unexpectedly aligned, the inconceivable has finally happened… a new Liquid Tension Experiment album. 

Band picture by Tony Levin.

LIQUID TENSION EXPERIMENT – Announce New Album to be Released on InsideOutMusic

Album due out in Spring 2021

The biggest music news of the year comes at the very end of 2020 as LIQUID TENSION EXPERIMENT announce their return with a new label and new album. The legendary supergroup comprised of Mike Portnoy (Transatlantic, Sons of Apollo), John Petrucci (Dream Theater), Jordan Rudess (Dream Theater), and Tony Levin (King Crimson, Peter Gabriel) have signed with InsideOutMusic for the release of their 3rd album. The album is set for a Spring 2021 release, 22 years after the bands’ last studio album.
 
“What happens, when you put four of the most talented musicians on the planet in one room? LTE. We all have been waiting for this album to happen for a very long time and it makes us very proud to be releasing this album. This one is for the fans!” – Thomas Waber, InsideOutMusic Label Manager
 
“We’ve all known Thomas Waber for a very long time and Jordan and I recently discovered how great it was to finally get to work together when Dream Theater joined the Inside Out family a few years ago. There really is no better home for LTE and we all look forward to doing great things together!” – John Petrucci
 
“Myself, and John, have known Thomas Waber since we met on the very first Dream Theater European tour in 1993…since then I have worked with him and Inside Out for the past 20 years with Transatlantic, The Neal Morse Band and Sons Of Apollo. When LTE finally reunited this summer, we knew there was no other label that we could call home” – Mike Portnoy
 
The band have released a new teaser trailer, created by Christian Rios, which you can see here:

In 1997, Mike Portnoy, John Petrucci, Jordan Rudess, and Tony Levin, joined forces to create Liquid Tension Experiment. The foursome would release their iconic, self-titled debut album in 1998 and the dazzling follow-up, LTE2 in 1999, creating a dynamic, frantic, and inventive sound all their own. The incredible creativity between the collective would prompt Petrucci and Portnoy to invite Rudess to join Dream Theater, effectively marking the end of this side project.  However, since that time, there have been few reunions more in demand. Now, with the world in lockdown and calendars unexpectedly aligned, the inconceivable has finally happened… a new Liquid Tension Experiment album.
 
Earlier this week, the Tony, Mike, Jordan, and John teased separate profile images on their social media pages with masks labeled with L-T-E-3 covering their respective faces.  This was followed by the full band image on the band’s socials.
  
Stay tuned for more information in 2021!

Dream Theater Enters Studio to Begin Writing Fourteenth Studio Album and Announce an Upcoming Facebook Live Q&A

In late 2017, Dream Theater signed with Sony Music’s progressive imprint InsideOutMusic.  Now, in preparation for the band’s fourteenth studio album and their first album ever produced in collaboration with this leading worldwide label, they are pleased to announce that they have entered the studio to begin the writing process.  Recently, John Petrucci and James LaBrie shared a quick video update from the writing sessions on the band’s official Facebook page: https://www.facebook.com/dreamtheater

James comments: “We’ve been here for one week and it is going sensational. Everybody is in the one room…and I gotta tell you, if the first week is any indication of where this album is going, you’re in for a treat.”

John adds: “There’s a lot of ideas flowing, and it’s already been really productive after only a week in. So far the music is heavy, progressive, melodic, shredding and it’s epic.”

The band will hold a live Facebook Q&A with fans during their time in the studio on June 28th at 3PM Eastern Time / 8pm UK time.  Make sure to tune in!

For a first impression of the studio, watch John’s tour here:https://www.facebook.com/johnpetrucciFB/videos/1974052929313376/

Dream Theater is:
James LaBrie – Lead Vocals
John Petrucci – Guitars, Backing Vocals
Jordan Rudess – Keyboards
John Myung – Bass Guitars
Mike Mangini – Drums, Percussion

Find Dream Theater online:
www.dreamtheater.net
https://www.facebook.com/dreamtheater
http://twitter.com/dreamtheaternet
http://instagram.com/dtimages

INSIDEOUT MUSIC online:
www.insideoutmusic.com
www.youtube.com/InsideOutMusicTV
www.facebook.com/InsideOutMusic
www.twitter.com/InsideOutUSA
www.insideoutmusicshop.com

GLEB KOLYADIN, THE VIRTUOSO IAMTHEMORNING PIANIST, DEBUT SELF TITLED SOLO ALBUM – OUT TODAY – NEW VIDEO FOR “STORYTELLER” FEAT. JORDAN RUDESS OF DREAM THEATER

With the debut self-titled album from Gleb Kolyadin (iamthemorning) released today on Kscope, the Russian virtuoso pianist premieres a new video for the song “Storyteller” which features special guest Jordan Rudess from Dream Theater

Gleb comments on the song and the Kolyadin/Rudess collaboration “Storyteller is the final point of this musical journey.  After passing through intricate corridors and stairs, the character finds a secret room where he comes to understand himself and everything that is happening with him. The room is a real mystical location in which time and space are intertwined. 

I think no one could play the solo part better than Jordan. His rocking piece is the true magic. I’m happy that everything turned out the way it did: his part was the most important detail that breathe new life into the track.”

Gleb Kolyadin is an emotive exploration of self-identity; a story of two parts with interweaving leitmotifs. The album’s central concept weaves through an elaborate tonal and thematic structure, built around the extraordinary rhythm section of Gavin Harrison and Nick Beggs, which is accented at its focal points by guest appearances from Steve Hogarth, Jordan Rudess, Mick Moss and Theo Travis.

The album is a collaborative piece with each musician recording their own parts separately, starting with Gleb recording himself on grand piano in Moscow Winter-Spring 2017 at the famed Mosfilm studio. The album was mixed and engineered by Vlad Avy, who also previously worked on the two Iamthemorning records.

Gleb Kolyadin is available on CD / LP and digitally and is available HERE

Follow Gleb Kolyadin: https://www.facebook.com/iamthemorningpage/

Review – Gleb Kolyadin – s/t – by Progradar

I suppose, like me, the music you listen to depends on the mood you are in? Uptempo, fast-paced music for workouts or when you are in a really energetic mood or perhaps the chilled out, more relaxing music for a quiet night in and then there is that album that sits a bit on the fence, it has the higher cadence but also the easygoing, even emotive tracks that make it a great listen.

I was lucky enough to receive the promo for Gleb Kolyadin’s (pianist and co-songwriter of Iamthemorning) self-titled solo release and was intrigued to find out whether it would be more of his day job or a change from the norm that would head in other directions. Along that journey I have had the pleasure to become engrossed in what is a wonderful musical adventure…

The record features a staggering who’s-who of performers, including: Gavin Harrison (King Crimson Porcupine Tree) on drums; Nick Beggs (Steven Wilson) on bass; Theo Travis (Robert Fripp / Porcupine Tree / Steven Wilson) on flute and saxophone; the unmistakable voice and lyrics of Steve Hogarth (Marillion) alongside Mick Moss (Antimatter); and Jordan Rudess (Dream Theater) on additional keys.

The album is a collaborative piece with each musician recording their own parts separately, starting with Gleb recording himself on grand piano in Moscow Winter-Spring 2017 at the famed Mosfilm studio. The album was mixed and engineered by Vlad Avy, who also previously worked on the two Iamthemorning records.

There’s a wonderful freshness and freedom to the music that Gleb delivers, whether it is the instrumental tracks where his piano playing is key or the vocal tracks where intimate stories are weaved by the collaborative voices of Mick Moss and Steve Hogarth. The near-frantic tempo of opener Insight is a case in point with Gleb’s dextrous digits flying over the ivories to give a breathtaking demonstration of his skill. The accompanying musicians add a veneer of sheer class, Theo’s sax really stands out and you could imagine yourself standing to applaud as it comes to a close. There’s a humble feel to the opening of Astral Architecture, the gentle piano is hushed in comparison giving an ethereal grace to the song. Mick Moss adds a subtle authority as his vocals begin, full of feeling yet with an undercurrent of melancholy, they draw you into there intimate embrace and you willingly follow. A fantastical aura settles over the song as the vocals take on a more passionate note and the classical strings add gravitas, a powerfully emotive track. The elegant notes of White Dawn wouldn’t be out of place in a piano recital, oozing class and panache, it’s a short interlude that could be termed a musical amuse-bouche and it leaves a lovely feeling on the aural palate.

The theme continues but at a much faster tempo as we segue into Kaleidoscope, a track that lives up to its name as you are taken through a huge spectrum of musical wonder by Gleb’s incredible skill and artistry. Tatiana Dubovaya’s haunting vocals give an air of mystery and intrigue but it is a piece of music that fairly skips along without a care in the world and you gladly join the ride as Theo Travis’ flute takes up the reins to take us to a breathtaking close. The momentum slows a little for the captivating charm of Eidolon to beguile and enchant before the slightly discordant notes of Into the Void carry on the recurring musical theme, quite insistent and incessant in their delivery. Again, this is classical music given over to a mass audience with the added skill and expertise of modern day, real world musicians added into the mix to create something quite unique. The unrelenting timbre is carried over to The Room but you always feel the performers are totally in control of proceedings. A note of seriousness has entered the music in places, the happy-go-lucky quality taking a step into the shadows without leaving altogether, Theo’s sax playing adding a gritty feeling of ‘out there’ jazz playing to the furious piano that closes out the track.

There’s a wistful, darker aura that descends around Confluence, a dreamlike and wistful opening seems to be meandering to nowhere in particular with is deliberately slow tempo and Steve Hogarth’s hushed spoken word vocal barely heard in the background. It’s a wistful, contemplative tapestry on which a beautifully mournful soundscape is created. The music has a thoughtful and reflective ambience as it dances gently across your aural synapses and belies its ten minute plus length. This song is a testament to Gleb’s creativity as it twists and turns to gather pace before applying the brakes, always demanding your attention, an introspective piece of music that leaves a lasting impression on your mind. Constellation The Bell is a moving song that has a barely hidden fragility behind the impressive piano playing, an eloquent and expressive three minutes that leaves a hollow feeling behind. There’s a grandiose and ebullient impression to the short lived Echo Sigh Strand, a track where Gleb’s piano playing seems to emanate from his very being to come alive and it crackles with electricity, powerful and exciting.

Penrose Stairs carries on the pomp and circumstance with added theatrics, a vibrant and imposing track aided and abetted by Gleb’s stellar accompanying cast of musicians. However, it is the intricacies of his skillful piano playing that is always at the core of these songs. The involving complexities of the elaborate Storyteller take on a slightly menacing tone as Jordan Rudess’ instantly recognisable keyboard skills take over, it’s quite a thrilling joyride from beginning to end. All good things must come to an end and the dulcet tones of Steve Hogarth herald the closing track on the album The Best of Days. A fantastically nostalgic song where Gleb and Steve work together perfectly to deliver a sentimental track that tugs at the heartstrings. It’s hard for me to put my finger on it but there’s just something about this song that really works and, to my ears, it is near musical perfection.

I met Gleb at this year’s Summer’s End festival and he is a quiet, polite and very unassuming man, perhaps it is through his creative side and his music that he can really express himself. This self-titled solo debut is pretty much a work of art where the undoubted piano playing skills of this virtuoso musician are complemented by some of the most prominent musicians around to give us something quite wonderful and ultimately rewarding and something which I cannot recommend highly enough.

Released 23rd February 2018

Order ‘Gleb Kolyadin’ from Burning Shed here

 

iamthemorning Pianist Gleb Kolyadin Announces Self-titled Debut Album

Following the success of two highly-praised albums with Iamthemorning, Russian virtuoso pianist Gleb Kolyadin affirms his musical authority with his debut, self-titled album on Kscope, on 23rd February 2018.

The record features a staggering who’s-who of performers, including: Gavin Harrison (King Crimson Porcupine Tree) on drums; Nick Beggs (Steven Wilson) on bass; Theo Travis (Robert Fripp / Porcupine Tree / Steven Wilson) on flute and saxophone; the unmistakable voice and lyrics of Steve Hogarth (Marillion) alongside Mick Moss (Antimatter); and Jordan Rudess (Dream Theater) on additional keys.

‘The Best of Days’ features the instantly recognisable vocals from Marillion’s Steve Hogarth, on the collaboration Steve comments “Gleb is a beautiful pianist and a great musician. I was invited to collaborate on his new solo album and my mind was made up as soon as I heard the music.”

Gleb Kolyadin is an emotive exploration of self-identity; a story of two parts with interweaving leitmotifs. The album’s central concept weaves through an elaborate tonal and thematic structure, built around the extraordinary rhythm section of Gavin Harrison and Nick Beggs, which is accented at its focal points by guest appearances from Steve Hogarth, Jordan Rudess, Mick Moss and Theo Travis.

Gleb is an extremely rare talent as a pianist and as a composer. His compositions are very inspiring as he breaks new ground on the instrument.” Gavin Harrison (King Crimson / Porcupine Tree)

he album is a collaborative piece with each musician recording their own parts separately, starting with Gleb recording himself on grand piano in Moscow Winter-Spring 2017 at the famed Mosfilm studio. The album was mixed and engineered by Vlad Avy, who also previously worked on the two Iamthemorning records. 

Gleb Kolyadin will be released on CD / LP and digitally and is now available to pre-order HERE

“Gleb Kolyadin is a rare talent. A virtuoso classical pianist with tremendous compositional skills… believe you will find the listening experience quite breath taking.” Nick Beggs (Steven Wilson)

Photography credit: Alexander Kuznetcov

 

 

Review – Fire Garden – Far and Near – by Progradar

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“I’ll keep evolving and put that into my songs.”
Alanis Morissette

One of the great pleasures of being a music journalist/reviewer is watching an artist mature from their initial early steps and through their growing career. You see how the raw musical talent becomes focused and more mature to give ever impressive musical releases.

One such artist, for me, is Chicago native Zee Baig and his musical project Fire Garden. From hearing 2012’s debut E.P. ‘The Prelude’ (where I initially became friends with this engaging musician) through 2014’s first full length release ‘Sound Of Majestic Colours’ to this latest album ‘Far and Near’, you can see the increasing skill and artistry, not only in the music but in the songwriting too.

Zee is the mastermind, songwriter, guitarist, lyricist and a founding member of Fire Garden. He is self-taught musician. His main influences are the music of late 60s and early 70s and bands like Dream Theater, Pink Floyd, King Crimson, Opeth, Porcupine Tree, Steven Wilson and classic bands like The Beatles, Led Zeppelin and many more.

Zee has called on the undoubted drumming skills of Jimmy Keegan (Spock’s Beard) on the new release, which also features Jordan Rudess’ keyboard wizardry and is mixed by Bruce Soord. The spectacular artwork is from the feverish mind of the legendary Travis Smith.

Frank Lucas (piano, keyboards, synths), Marc Malitz (bass) and Barry Kleiber (bass) make up the rest of Fire Garden and each adds their own considerable expertise to the melting pot.

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The album opens with title track Far and Near which is a haunting two minute instrumental that drips with pathos, feeling and intense emotion. Dominated by a sentimental piano note, it really strikes a chord with me, leaving me feeling slightly melancholy, but in a good way. There’s Something begins with a delightful strummed guitar before the drums become the driving force. Zee’s vocals lull you into a state of grace with their lush tone before the riff gets a little heavier and the song takes on a more serious feel. The chorus has a great hook and you just seem to be carried along on the wave of sentiment that the track engenders. There’s a slight interlude in the middle of the song, an ominous feeling that we are working up to something as everything slows down to a meditative pace. It’s a laconic and laid back, if intricate, build up to a slow burning guitar solo that hits you in the solar plexus and holds you in place while stripping your soul bare. A nicely judged and intelligent song that shows just how far Zee has come as a songwriter. A thunderously powerful riff is the opening to A New Day, a song that has the feeling of U2 but as if it was played by Metallica, the imperative verse drives on with the urgent vocals and dynamic drums. There’s a mesmerising feel to the heavy riffing and eerie organ note that adds to the wall of sound that is being generated. The slow build to the solo really sets you on edge and then Zee’s coruscating guitar really burns bright. A really compelling and forceful track that holds your attention to the explosive end.

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Now to my favourite song on an album of great tracks, Life of a Drifter is a whimsical and nostalgic song that brings out feelings of hope and regret deep from your soul. The laid back chorus is gentle and touching breaking into a softly sung but heartfelt chorus. There is a sense of not wanting to look back at a sepia tinged past so that some sort of pain or less can remain hidden. Don’t look back, just focus on tomorrow, it really touched a nerve with me and I am moved every time I listen to it. The serenity is broken by clashing drums, guitar and keyboard, a maelstrom that leaves you breathless with its ferocity before a more focused and powerful rendition of the chorus is sung. This is all leading up to an absolute monster of a keyboard outro by the legendary Jordan Rudess, given free rein to let loose his mind-bending virtuosity. Turst me, you’ll be left slack jawed by the brilliance! The slow brooding A Thousand Lost Souls is a superb instrumental that seems to just be boiling under the surface, leaving the tension readily apparent. I love the way it makes the hairs on your arms stand up with its intensity and focus. Once you’ve heard the first note, you daren’t turn it off, it is like it is talking to you in a mystical musical code. War and Peace is a darkly powerful prog-metal track that feels like it has clawed its way up from the bowels of the earth, elemental and alive. The repeated, singular, words, are delivered in a menacing chant before the industrial riff and deliciously evil guitar threaten to take over your mind, leaving you a slave to the rhythm.

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Faint Shadows follows that seriously heavy prog-metal direction with a riff that could topple mountains, primordial and destructive. There’s a feeling of barely controlled chaos that is bubbling under the surface before the ever more potent drumming of Jimmy Keegan breaks free. The vocals begin, almost shamen-like in their delivery, as if they are speaking an incantation and one that draws you in close. You know that something is lurking in the shadows but know not if it is of the darkness or the light, however, you have to follow your instinct and find out. It is a really vivid and dominant song that brooks no argument. Heartfelt, sombre and slightly mournful, the opening notes to Whitelight just leave your heart in your mouth. This is a passionate plea of a song that seems to linger in your subconscious. Zee’s vocals are wistful and dreamlike and you just find yourself left in a trance, able neither to move forwards or back, your attention on every word that you hear. The delicate guitar and keyboards just add to the atmosphere, a song powerful in its contemplation. The mood is broken by a dark-edged riff and frenzied drumbeat before a hypnotic piano brings a feeling of tension and the close of the song. At nearly eleven minutes, Diary Of The Blood Moon is the lengthiest track on the album and hits you straight away as being the most progressive of the songs too with an intricate play off between the drums, guitar and keys. Driven along by Jimmy’s expansive style and Zee’s brooding guitar it is a hectic ride for the uninitiated. Interspersed with interludes of calm and reflection, it is an intense crucible of musical majesty that bestrides this album like a colossal behemoth. The last two minutes raise the bar even higher with a build up of momentum that intensifies with a fiery guitar solo and dominant rhythm section to just leaves you open mouthed in admiration.

So Zee and Fire Garden have raised the bar even higher with this latest release. ‘Far and Near’ is a magnificent album that never loses focus or intensity and, while it is great to see Jordan Rudess and Jimmy Keegan giving their considerable talents to this enterprise, it is very much the product of Zee Baig and Fire Garden’s consummate skill set. Trust me, as an all consuming listen from beginning to end, this is a definite must buy for your music collection.

Released 21st October 2016

Buy ‘Far and Near’ direct from Fire Garden