Review – Matt Steady – Presence – by John Wenlock-Smith

This was actually released back in 2023 so this review is probably a little overdue now but, still, it is definitely worthy of a review in my opinion.

I came across Matt Steady’s music through an advert on Facebook in which he was offering an albums worth of his Celtic Prog guitar works, a sampler of his earlier albums that also included two tracks lifted from this release, ‘Presence’. This sampler was mine for the price of postage, however, what made this album appeal to me was the endorsements of Dave Brons (whose albums I have previously reviewed) and also of Dave Bainbridge, both of whom had very positive things to say about Matt’s music. Positive proof that people do value the opinions of those they respect, this made this free album offer more enticing and so I opted to listen for myself.

Matt is an interesting fellow, he is by day a foster carer, which he does in conjunction with his wife, with Matt being the main carer. This is, of itself, a very laudable calling, however ,despite having a house full of children, in between this activity he creates his own music, which ranges in style between Celtic and folk, along with blues and heavy rock. I received the sampler and thoroughly enjoyed it, I talked to Matt and offered to review it for Progradar. Matt said that it was a sampler and asked would I review his latest album, ‘Presence’, instead, which is when I found out that it was a recent, 2023, release.

That is the long way of telling you about this review, ‘Presence’ is a ten track, fully instrumental, album of mood music. That said, it is not mere background music, rather this is a more emotional type of music, music that connects with you and makes you feel something. That is the aim at the heart of the album,

The album begins with a stunning guitar instrumental called Deep Calls To Deep, which has an excellent melody line. The track opens with epic keyboard swathes and percussion before a sinewy guitar line is added that bleeds emotion. This line just ascends and soars in a very recognisable style of a certain Gilmour chap, making for an epic instrumental opening salvo and sets the listener up for some feelings in the music. It is all very well done and the playing is excellent, quite what emotion this track conveys is not entirely clear, I suspect it is love, a very deep love though. Constant is a slightly eastern mystical sounding track, emotively it shows perseverance or patience. Again, this track has some excellent guitar playing throughout, swift flurries of notes over a constantly shifting rhythm pattern, all very impressive sounding indeed. Espresso has an interesting opening part full of burbling synths followed by another strong and fluid guitar line with a lovely tone to it, very clear and pronounced. Again the emotion it seeks to convey is not fully clear, although it sounds fantastic anyway.

Next up is Reign which may be representative of power. This piece has a somewhat suppressed guitar tone, like it is being held back somehow. It is a great tone though, which is what it is all about, as any guitarist will tell you, it’s all about the tone you get and apply in your sound and, well, this track has oceans of tone! Perforate has a funky groove and guitar fills. Matt gets some great sounds on this track, I love the funky groove and the ending solo, delivered by Dave Brons, is excellent. Uprising has a strong thrust and some great keyboards, it has a very muscular feel to it which suggests the emotion is overcoming adversity and being resilient and strong in the face of oppression, again this track really makes an impact. Foundation implies strength in a relationship and life in general. Emotion oozes throughout the track which has Terl Bryant’s drums thundering away throughout, giving a very solid base from which Matt can fly free and he does that remarkably well and fluidly.

Jelly Babies is the next track and, again, the emotion is unclear but I suspect it is joy as the track is fairly joyful in nature. Reed is the penultimate track and this one suggests resilience and letting life flow over and around you without breaking your spirit. In fact, the whole album suggests a kind of spirituality that offers hope and comfort when needed. Matt plays a violin part in the early section before switching to a fiery electric guitar solo, it sounds very epic indeed, a very strong track overall. The final piece is Sunrise and it has another stirring guitar line. This track suggests gratitude for another day of living and also for all that are around us, it is a lovely and fitting conclusion for an amazing album of moods.

There is some real graceful and empathetic music on offer here, it is a collection of tracks that will lift your spirits and provide sustenance in times of need. This self-released album has some rather excellent performances and stirring music in its short, forty minute, duration.

I really like it, and you can get it for yourself direct from the artist at the link below, as well as ‘The Dragons Refrain’ sampler.

Release 2nd September, 2023.

Order direct from the artists here:

Order from bandcamp here:

Presence | Matt Steady (\

Review – Glass Hammer – Chronomonaut – by Progradar

“It’s being here now that’s important. There’s no past and there’s no future. Time is a very misleading thing. All there is ever, is the now. We can gain experience from the past, but we can’t relive it; and we can hope for the future, but we don’t know if there is one.”
― George Harrison

There’s times when we have all probably wished we could go back in time to change something but there’s no such thing as a time machine, right?

Glass Hammer’s new concept album ‘Chronomonaut’ answers the question ‘what if?’. The new release is a stand-alone album but also acts as a Part Two for the highly successful 2000 release ‘Chronometree’.

Bassist Steve Babb says the new concept album tells the story of “the ultimate prog fan.” Babb elaborates, “Our album deals with time travel, nostalgia and the love of prog-rock. ‘Chronomonaut’s’ protagonist, Tom, starts his own band and then makes the attempt to go back to the seventies in hopes of becoming a prog-god. It’s all in fun and is really a very tongue-in-cheek look at how our favorite music can take us back in time.”

Long been known as being proponents of classic progressive rock with influences from the 70’s, Glass Hammer make a bold new statement with ‘Chronomonaut’, a new direction that gives them a definitive sound of their own. I’m always excited by the announcement of a new album from this band but, this time, they have gone more than the extra mile.

The band has been engaged in a buzz-creating viral marketing campaign which NJ ProgHouse Media Manager Jon Yarger describes as “pure genius”. “We not only have an epic music video set for release, we have also been releasing found footage from Tom describing his band’s expoits and his odd theories on time,” explains Babb. Fans have been following Tom’s escapades for weeks before the album was announced, and are eagerly anticipating the ‘Chronomonaut’ release. The gorgeous digipak design incorporates Tom’s story and lyrics. The striking cover design is by Xaay, a fairly well known death metal guitarist / vocalist from Poland.

There’s a narrative running through the album and reading the booklet along with the tracks is a must, the powerful opening instrumental The Land of Lost Content introduces a more heavier sound before Roll For Initiative opens Tom’s story, ‘he could hear voices in the music; voices the rest of us could not, voices which instructed him in the science of time travel.’ Already you can hear the new direction that the band are forging, there’s a great jazz rock vibe coming across, especially with the brass section. Steve Babb’s bass is as elegant as ever giving depth to the music and the drums are a guiding light.

Twilight of the Godz is one of my favourites on the album, an ever so elegant track where Tom debates the merits of reliving the past with an old bandmate. Brian Brewer’s soulful blues guitar and Susie Bogdanowicz’s heartfelt and passionate vocals stand out on a song which, to my ears, channels late 60’s Beatles at its core, Fred Schendel’s ultra smooth Hammond and Steve Babb’s keyboards providing layers of class, and the guitar run out is a thing of sheer brilliance. We’re on a roll now, this excellent album continues with the silky smooth The Past is Past where the past reminds Tom of all that might have been. What a superb intro, never has a saxophone (take a bow Jamison Smeltz) been put to such good use since Baker Street and the vocals (from Discipline’s Matthew Parmenter, if my ears don’t deceive me) really fit the mood. Think singer/songwriter meets jazz band with a King Crimson fixation and you wont be far wrong, it is theatrical in its delivery and really gives the band a completely different feel.

This enjoyable romp through space and time continues with the stylishly delivered 1980 Something where, ‘Like an old girlfriend returned from decades ago, the past beckons..’ Susie’s vocals, some judiciously played guitar and Steve’s dextrous keyboards (he doesn’t just play bass you know!) imbue the song with timeless sophistication and refinement. A Hole In The Sky sees the story get serious, ‘Tom must make the attempt to go back in time.The past, nostalgia, whatever it is that’s calling him, he has to find it.’ The music definitely takes a trip back in time with a bouncing 60’s vibe that is really infectious. The vocals, guitar and, especially, keyboards invoke such feelings of that decade that you’re virtually transported there yourself, it’s a very clever piece of music.

A sci-fi inspired instrumental which could have come from Tangerine Dream (more of that later) Clockwork, with its 80’s sounding keyboards, is two minutes of musical dexterity which wouldn’t have been out of place in one of the Terminator movies. Haunting and spaced out in equal measure, Melancholy Holiday has far eastern edge to it, Susie delivering a wonderful vocal performance.‘Once through the portal, Tom finds himself adrift in the murky waters of time where he find the past isn’t what it used to be’. The languid tempo does make you feel like you are drifting in a vast expanse of nothingness, with no idea where you are or where to go.

It Always Burns Sideways is a two-part instrumental that is ying and yang. Pt.1 Same Thing Over Again is dark and dangerous, the heavy accentuated keyboards giving a Van der Graaf Generator undertone to the music and a daunting atmosphere. Pt.2 Headphones In Wonderland is a polar opposite with its uplifting feel and swirling keyboards. It’s like the band recruited Mike Oldfield for a cameo and played a jam session along with him. The classically stylish guitar is a superb addition and just left me feeling elevated and inspired.

Glass Hammer show that they can do the pomp and circumstance as well as Transatlantic or Neal Morse with the exhilarating Blinding Light. ‘Tom realises at last that the only way to get ahead is to go forward. And anyway, time only travels in one direction. It’s time to leave the past behind.’ The sumptuous brass section, dynamic drums and exalted keyboards give the track a vibrancy and inject it with heart and soul. Excellent vocals and subtle guitar are the icing on a rather tasty cake, one that emphasises the impressive new sound and direction that the band are taking. The Steve Babb composed & performed Tangerine Meme wears its German electronic instrumental heart on its sleeve and as a homage to that legendary musical collective, is nigh on perfect.

This incredibly infectious and hugely entertaining story is brought to a close with the ten minute near-epic Fade Away. Bringing the story round full circle, but leaving the door open for a further instalment, it’s an inventive and intelligent piece of music that touches your heart with its opening. A tender piano and subdued vocal taking the story up. Like all the best tracks it builds on simple beginnings to blossom into something quite magnificent. The vocals take on the role of storyteller and bard, the musicians giving them the canvas to paint on, building layers and layers of sophistication. This song is a totally immersive ten minutes that you gladly lose yourself in and it twists and turns and then gives you the ultimate reward at the end, a quite wonderful closing guitar solo from Reese Boyd.

‘Where is Tom now? None of us know. Did he finally make it back to “those blue remembered hills” of the seventies, that “land of lost content” where prog legends are still young and the genre is flourishing and alive with possibility? I hope that he did. Though were I to be honest, I suspect he’s found what most of us have – that you can’t really ever go back. Somewhere out there , just like the rest of us, he’s making his slow cautious way into the future only to find that once there, it’s just now.’

Albums like ‘Chronomonaut’ are the reason why I love music so much and it has become part of my life. It sees a band I love unafraid to take a relatively new direction, organically progressive if you like. While not completely straying from their roots, Glass Hammer have taken a path less trodden and delivered what is, without a doubt, their best album yet and a fantastic new direction of power, precision and downright soul.

Released 12th October 2018

Pre-order Chronomonaut from the official store here including the limited addition bundle shown above