Tag: Progradar

Bent Knee Announce New Album ‘Land Animal’ – out June 23 via InsideOutMusic/Sony

(Bent Knee-  Credit Chris Anderson)

Bent Knee Announce New Album ‘Land Animal’ – out June 23 via InsideOutMusic/Sony – On Tour With Thank You Scientist + Headlining Tour Dates Announced.

“Mind boggling… the grandest and subtlest ideas are on the table” -NPR
“The silo-smashing Bent Knee’s unique mix is equal parts ingenuity and deliciousness” – The Wall Street Journal

“Bent Knee breaks new stylistic and temperamental ground” – The Boston Globe

Bent Knee is unlike any band you’ve ever heard. Its borderless sound combines myriad influences from across the rock, pop, minimalist, and avant-garde spectrums into a seamless, thrilling whole. Its forthcoming album Land Animal-Bent Knee’s first for InsideOutMusic/Sony, released on June 23, 2017 -takes its sound to a new level. It offers a suite of songs full of addictive hooks, lush melodies and enthralling twists and turns that capture the reality of life in the 21st Century-a reality of people and nations in the midst of tumultuous change. It also communicates a ray of hope and desire for listeners to embrace the fact that they’re not alone in their struggles.

You can watch the beautiful, provocative video for “Land Animal.” Directed by Greg Bowan, the video explores the inner conflicts people have as they endure daily stresses and lose the big picture view on what really matters in life.

Watch the video for ‘Land Animal’ here

Bent Knee formed in 2009 as a democratic collective determined to push the boundaries of pop and rock. Lead singer and keyboardist Courtney Swain’s soaring vocals are instantly arresting. Guitarist Ben Levin is one of the most dynamic and versatile guitarists around, shifting between the raging and raucous to the sublime and meditative. Bassist Jessica Kion and drummer Gavin Wallace-Ailsworth combine into an enthralling rhythm section that’s equal parts powerhouse and nuance. Violinist Chris Baum’s kinetic violin work provides drama, grace and intrigue. World-class producer and live sound designer Vince Welch weaves it all together with a captivating, expert touch.

The band has gone from strength to strength in recent years. Its last two albums, 2016’s Say Soand 2014’s Shiny Eyed Babies, were hailed as significant art-rock achievements. The group has performed hundreds of shows across the world to date. During the fall of 2016, the band played for ecstatic audiences as an opener for the U.S. leg of The Dillinger Escape Plan’s farewell tour ahead of signing with InsideOutMusic/Sony.

“We’re very excited to be working with InsideOutMusic/Sony,” said Swain. “It’s wonderful to have our music reach a lot of new ears across the globe through them. It’s an honor to join their roster of prestigious artists and we look forward to a long relationship with the label.”

The band is now on tour in America. During April and May, it opens for the expansive rock act Thank You Scientist, known for its combination of progressive and jazz influences. Bent Knee then continues in June with a headlining tour. See full routing below.

Pre-order Land Animal on iTunes today, with instant download of the title track. Further preordering information coming soon.

https://itunes.apple.com/us/album/land-animal/id1225586747

Bent Knee Tour Dates:
*supporting Thank You Scientist
^with Great Caesar
6/3          New Haven, CT @ Café Nine^
6/5          Boston, MA @ Great Scott
6/6          Philadelphia, PA @ Kung-Fu Necktie
6/7          Pittsburgh, PA @ The Fun House/Mr. Smalls
6/8          Washington, DC @ Black Cat
6/9          Milwaukee, WI @ Shank Hall
6/11       Cleveland, OH @ Beachland Tavern
6/12       Chicago, IL @ Schubas

 

Bjørn Riis – Forever Comes to an End – Released 19th May 2017 on Karisma Records

Airbag co-founder, songwriter and lead guitarist, Bjørn Riis will release his second solo album, ‘Forever Comes to an End’, in May 2017. The album is the follow-up to the highly acclaimed and awarded debut, ‘Lullabies in a Car Crash’.
‘Forever Comes to an End’ feature seven songs, with inspiration from classic rock, prog and movie scores. Bjørn’s unique guitar playing has a centre role, with soaring leads, heavy riffs and beautiful textures.
Lyrically, the album deals with broken relationships and loss and the emotional duality between resentment and forgiving.

The album is very much a tribute to all of Bjørn’s musical influences. From the dark and dirty riffs of Toni Iommi and Zakk Wylde, to the emotional playing of David Gilmour and Steven Rothery. The melodic and sombre voice of Steven Wilson and Tim Bowness and the cinematic landscapes of composers like Thomas Newman and John Barry.

‘Forever Comes to an End’ feature appearances from Airbag’s Henrik Fossum (drums) and Asle Tostrup (programming), Simen Valldal Johannessen from Oak (piano) and Norwegian singer, Sichelle Mcmeo Aksum (vocals).

Norwegian photographer Kjetil Karlsen, has provided the front cover image, taken in beautiful Beisfjord near Narvik in Northern Norway. Design and layout is by Asle Tostrup.

DISCOGRAPHY
“Lullabies in a Car Crash” (CD/VINYL, Karisma Records, 2014)
“Forever Comes to an End” (CD/VINYL, Karisma Records, 2017)

TRACKLIST
1.      Forever Comes to an End
2.      Absence
3.      The Waves
4.      Getaway
5.      Calm
6.      Winter
7.      Where are You Now

Band website: www.bjornriis.com
Label website: www.karismarecords.no

Review – The Fierce And The Dead – Field Recordings (Live) – by Kevin Thompson

Despite saying they would be easing off a little after last year’s hectic release schedule, Bad Elephant Music (BEM) are showing no noticeable signs of slowing down in unleashing new music to our ears for 2017.

Soon to be released and highly anticipated is the ‘Field Recordings’ EP from one of BEM’s rising bands The Fierce And The Dead, (TFATD) and catching them in all their glory, live from last year’s Ramblin’ Man Festival. It includes four of the regular favourites and two new tracks, which the band tease may or may not appear on the new album which they are currently recording.

Based in Northamptonshire this 4 piece instrumental rock band formed in 2010. They line up as:

Matt Stevens – guitar/loops, Steve Cleaton – guitar, Kev Feazey – bass and Stuart Marshall – drums.

(Eggcellent Photo Credit to Allyson Blue-Sky)

Serving up a sound that continually evolves taking in every genre they can squeeze in and veering from scuzzy guitars to chilled Hawaiian licks we find jazzy undertones married to punk style jerks and everything in between, moulded into their own distinctive sound. You can never get too cosy listening to the chilled rippling strings, because just as you sink into your deck chair, hanky on head with a cool drink in your hand you can be hit with brutal metal riffs and twitching rhythms that will have you up and jumping around, your head waving wildly like a rag doll. Their loyal and growing following have already seen them supporting Crippled Black Phoenix and The Aristocrats among others.

Now whilst I have the band’s recorded output I must confess I have yet to have the opportunity to see TFATD live, something I must remedy in the future, so I can only review this from listening and using my wildly vivid imagination.

(Photo Credit – Ashley Jones of The Chaos Engineers)

They kick straight in after the briefest of understated introductions, blowing any clouds away with the fast distorted riffs of Magnet In Your Face and anyone trying to chill is brought abruptly back to the land of the living. They lay on a few laid back chords like cars drifting smoothly round corners then crash back into the fray with Stuart’s drums careering like one huge pile up on the biggest of motorways with Kev Feazey’s bass weaving like Vin Diesel through the traffic as Steve and Matt’s guitars flick the NOS switch and hurtle to the finish line.

But there is no pit stop or time to refuel as it’s straight into Ark, with the guitars switching briefly to cruise after the bass revs it’s engine. But the temptation to rev will out and throughout the chilled rhythm the drums pull at the choke and the plugs spark in bursts.

Many albums can be lost in the studio as they are mixed and chopped, losing the ‘live’ feel. So it’s nice to hear the crowd and banter haven’t been removed from between the tracks and a credit to Mr Feazey’s mastering capabilities that he retains the atmosphere and gives him the chance to introduce the band before the next track, Dancing Robots, (a new one for those who do not have the knowledge).

Looping guitars drift in as the drums tick over before the bass presses the start button and we side-slip into the traffic before whipping out on to the fast lane racing weaving through the crowd and away.

We are treated to the sounds of tuning and a short modest merch promotion, before being introduced to another new track Verbose which will ‘probably’ be on the new record out this year. Drumsticks count us in and then frantic short riffs followed by the throbbing bass blow the wind through our hair and from somewhere I’m reminded of ‘Radar Love’ before the intensity builds and gains pace, all the while the bass driving the tune on. This is probably the heaviest track on this EP and ends with screaming distorted guitar as it slides down the scale.

Perfectly suiting the open top car on a sunny day, a looping Hawaiian lick introduces us to Palm Trees, the only track with ‘vocals’, but you’ve no sooner taken your beach towel out of the boot and spread it on the beach, when a huge wave of distortion hits you and you are left soaked in crumbling guitar notes.

Last track, live favourite 666…6, is introduced as the band’s hit single to a ripple of appreciation from the audience. Looping tropical chords warm up the engine one last time twisting through the air before a Biffy Clyro style riff changes gear and rips through them. Down a gear again to the loop before the band rev again. It’s like trying to reign in a muscle car that doesn’t want to cruise and pose along the sea front but would rather burn rubber and screech down the road towards the dramatic climax. This is how to burn out a musical clutch. The speed builds and it all comes to a crashing end, fading out as the crowd applaud and cheer an exhilarating performance.

For anyone not having heard the band previously I can heartily recommend this as not only do they revel in playing ‘live’ but it is a great taster for the distinctive TFATD sound. Then if you like it make sure you catch up on the rest before the new album comes out later this year.

If I can also give a special mention to the fabulous cover art from the legendary Mark Buckingham, nice.

‘Field Recordings’ is how live music should sound and many bigger bands could learn from this. Looking forward to the new album boys.

(Photo Credit Cover Image – Bo Hansen)

Released 28th April 2017

Order ‘Field Recordings – (Live)’ from bandcamp

 

 

 

 

 

 

Review – Drifting Sun – On The Rebound (2016 Remaster) – by Progradar

“If it ain’t broke, don’t fix it…”

A common enough saying, if there’s nothing wrong with a certain thing then why change it? Yet in the music industry there seems to be a propensity of remixed and remastered versions of older releases, why is this?

I suppose the technology today means that the songs can be tinkered with to produce what the artists originally wanted and there might not have been enough money in the coffers originally to release the desired versions of the tracks?

For whatever reason there is a plethora of ‘breathed on’ new versions of old releases around at the moment and last October Drifting Sun gave us a new version of their 1999 release ‘On The Rebound’ and the band’s main man, Pat Sanders, has asked your intrepid music journalist to review it.

Here’s the artwork for the original release:

I asked Pat why the band decided to remix and remaster the album and here it is, straight from the horse’s mouth (so to speak):

“The album was originally recorded and mixed/mastered at a time when we didn’t have much experience in this sort of thing, and lack of a proper budget basically forced us to take care of the mix and mastering ourselves, which wasn’t handled as best as it could have been, and that has always been in the back of my mind all these years.

Therefore, I recently decided to give the album a new lease of life and have it remixed and remastered by our sound engineer Jon Huxtable. He has done a great job bringing the songs back to life, really this was more than just a simple remix… we literally pulled the tracks from the raw files and started from scratch there.

While we were working on the mix, I thought that another thing that wasn’t showing the record in its best light either, was the cover, and so I did brand new artwork for it, as well as redesigning the entire booklet too. So there you have it, ‘On the Rebound’, Circa 2016, brand new mix, brand new master, brand new artwork!”

The band’s line-up on the original album was Pat (keyboards), Chris Martini (vocals), John Spearman (guitars), Manu Michael (bass) and Tobin Bryant (drums).

There is a rich sound to the newly remastered songs and it doesn’t sound like an album from the end of the last century, there’s a real modern sound to the music which is evident from the opening bars of The Charade, a really up-tempo neo-progressive track with a multitude of twists and turns throughout its thirteen minute duration. The keyboards and up front and centre and the drums have a real vibrancy to them and Chris Martini has a very expressive and expansive vocal style, almost theatrical in its delivery. A nicely harmonised chorus adds to the stylish feel and there’s a really intricate keyboard solo that puts a big smile on your face. John’s guitar finally loses its cloak of subtlety and becomes more forceful as we move further into this impressive track, I have to admit it has really surprised me, I wasn’t expecting a 17 year old release to sound this vibrant and dynamic. Swan Song opens with a powerful guitar run and Chris’ almost operatic vocal, a much more serious and sober track with an emotive vibrancy. It ebbs and flows superbly and the keyboards and guitar have a real tete a tete, playing off each other brilliantly before there’s a cracking guitar solo full of fire and brimstone that will have you pulling out your air guitar and joining in. A cracking track that shows just how neo-prog should be done.

A sophisticated vocal and delicate acoustic guitar open Drifting Sun with style and panache and draw you into its cultured embrace. The vocal opens up more and the music adds verve and tenacity and, along with Pat’s 80’s sounding keyboards, give you a rather elegant piece of music. Once again John’s skill on the guitar comes to the fore with a tasty solo, it doesn’t get much better than this. There are hints of Marillion but this talented band have their own identity right at the core, sit back and enjoy the music. Another cultured introduction opens Long Nights and there is definitely and 80’s feel to this song with the chiming keyboard notes and elegant bass lines. The vocals are heartfelt and earnest and the track seems to glide elegantly across your aural synapses with its hypnotic beat. There’s a feel of treading water, a calmness and serenity to everything as this mesmerising song continues. About half way in things take a darker turn and an aura of unease covers everything. The guitar fires up and goes on an intricate, quick fire journey, aided and abetted by the slightly discordant keyboards and driven along by the dynamic drums and bass, a proper progressive intervention into the composure and harmony of what went before. The song ventures into a more elaborate form with mysterious undertones, asking questions that you don’t have answers too, it’s very clever and really piqued my curiosity, I just love the freshness of the free-form and free will guitar section towards the end.

Heaven’s Eyes is a more straightforward song with a beautiful piano opening and Chris delivers another warm, sincere vocal performance. Almost a ballad but one with more depth than your usual fare, it is stirring and touches your soul with its earnest emotion. It stirred thoughts and sentiments inside that I thought were long gone and left me thoughtful and musing on the world we live in today. Minstrel is an intriguing track, it has many layers of subtlety and, as you peel them back, you are gifted with little nuggets of wonder. There’s a fantastic vocal from Chris that reminds me of some of the great frontmen that progressive rock has seen, almost a cross between Peter’s Gabriel and Hammill with a little bit of Fish thrown in for good measure. A proper ‘progressive’ track in every sense of the word and one with a penchant for a bit of showmanship at times. It’s a song for late night, lights down low, headphones on and a glass of deep red wine in your hand. As the song title would suggest, there is a touch of the troubadour about Chris’ performance on this song and he is the main focus, backed up very ably by these talented musicians to add a patina of theatrical artistry to every note.

The final track, Mon Masque, is a fitting ending to the album, full of pomp and circumstance, emotion and sentiment, it has real fervor to it. I’ve used the word ‘theatrical’ in this review and you do get that feel that you could be in a West End musical, it is more than just music, there is a heart and soul to every word and every note and the band are really putting on a performance for their audience. To hear these songs played live would be pretty special I’m sure. I keep losing myself in the myriad twists and turns that envelop this song, like a musical maze that you’re quite happy to be lost in.

I loved Drifting Sun’s last release ‘Safe Asylum’ and the praise I gave that album is well justified by this remastered version of ‘On The Rebound’. An entrancing, theatrical musical experience that draws you in and leaves you sated with its dexterity and brilliant tracks. Whether it was broken or not, this ‘fix’ has produced something rather special.

Released 1st October 2016

Buy ‘On the Rebound – remastered and remixed’ from bandcamp

 

 

 

 

Review – Lonely Robot – The Big Dream – by Leo Trimming

‘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 Everglow blasts 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 if The Divine Art of Being has 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 Dream feels 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…

‘…That’s such a curious thought…’

Released 28th April 2017

Order ‘The Big Dream’ from InsideOut Music

 

 

The Fierce And The Dead Stream ‘Verbose’ – Second Track from ‘Field Recordings Live’

It is just under two weeks to go until Bad Elephant Music releases The Fierce & The Dead’s live mini-album, ‘Field Recordings’.

Taken from the band’s incendiary set at last year’s Ramblin’ Man Festival, ‘Field Recordings’ captures the band in their element – performing live on stage in front of an enthusiastic crowd. The album features two previously unreleased songs which may (or may not!) feature on The Fierce And The Dead’s third solo album, currently in production.

BEM’s CEO David Elliott:

“As a bit of Easter cheer on a rather grim Monday, we’ve released the stream of a second track, another new tune entitled ‘Verbose’. Get it in your ears – and if you like it, and you have £8 to spare, it would be lovely if you’d buy a CD. Mark Buckingham’s stunning artwork is worth the price of admission alone.”

The band reckon this album is the best statement to date of what The Fierce And The Dead are about. Even Matt (Stevens) himself has gone on record as saying “yeah, it’s okay” – which if you know him you’ll recognise as the highest possible praise when it comes to his own work.

You can listen to Verbose and pre-order ‘Field Recordings’ at the link below:

The Fierce And The Dead – ‘Verbose’

(Eggs-alike by Allyson Blue-Sky)

TFATD – Facebook

TFATD – Website

Website – Matt Stevens

 

Review – Magenta – We Are Legend – by Progradar

Longevity in the music business is almost like the Holy Grail and those that find it do so because their music has the ability to endure, to evolve, to develop and to progress. In this internet age that is becoming harder to accomplish, every man and his Mac Book can produce music and have it playing around the world in no time at all.

I feel that the best music will always outlast these mountebanks and pretenders and rise to the top, it is just a case of weeding out the middle of the road releases to find the creme de la creme or, if I’m lucky, for it to find me.

Stephen Lambe (he of Summers End Festival fame) also represents some of the best acts in progressive rock today through his 1973 Artist Promotions and I have been fortunate that Progradar is one of the review websites that he has chosen to work with. Stephen’s latest offering was the hotly anticipated new album from British prog stalwarts Magenta. Did I want to review it? Do bears sh… you know the rest!

The long overdue new Magenta album ‘We Are Legend’ will be released on April 20th 2017.

Main man Rob Reed says:

“It was time to try something new, musically and lyrically. I’ve always kept to a small music pallet with the previous albums, but I felt that we’d reached a crossroads and wanted to try something new. Magenta have gone through a lot since the last album, especially Christina our lead vocalist, so we feel that we have something to prove with ‘We Are Legend’. So be prepared.”

‘We Are Legend’ features 3 tracks, opening with the 26-minute Trojan and two 11 minute pieces Colours and Legend. As well as Christina Booth, Rob Reed and guitarist Chris Fry, the album also features new drummer Jiffy Griffiths and long-term live bassist Dan Nelson.

Magenta have been around since 1999 and have released a litany of superb albums in their illustrious career to date, there high quality being one of the reason’s for the band’s longevity. Will ‘We Are Legend’ perpetuate that success? There’s only one way to find out…

It smacks of utmost confidence in your own ability to release an album with only three tracks on it, much like certain progressive rock legends from the 1970’s but ‘We Are Legend’ is every bit as fulfilling as a release with 10 or 15 songs on because every track is an immersive, involving journey of many parts and provides the listener with everything they need for forty nine minutes of intense musical pleasure. Opening track Trojan builds the atmosphere skillfully and artistically before blooming before your very ears into a wondrous piece of music with a myriad of subtle twists and turns. The high energy driving beat has things moving along at a hell-for-leather pace, the slightly distorted guitar taking an impressive lead and the stylish bass and drums providing the foundations upon which Rob’s keyboards guide us around this mesmerising musical tapestry. Christina’s voice has never sounded better, she has a powerful authority to her vocal delivery which grabs your attention immediately and never lets go. In fact, the first few minutes literally bowled me over with their energy and intensity. Just sit back and listen and enjoy the ride as these masterful musicians put on a breathtaking show for you to enjoy. All the time little nuggets of musical wonderment pop up to put a huge smile on your face, there’s a guitar solo about six and a half minutes into the song that I really enjoyed but you could pick out one of many moments of a similar nature. To be fair, this isn’t just a song, it’s a musical drama, a riveting narrative set to some rather impressive music and you will find yourself becoming lost in the whole captivating experience. Rob is right, this is a hugely expansive work that just gets better with each listen.

After the twenty-six minutes of musical spectacle that was Trojan there is no let up as the introduction to Colours storms into view, there’s an urgency to the music and tension and instancy to Christina’s voice and a whole melodramatic feeling of turmoil to the track. Where Trojan was a big theatrically inspired production, this song has a much more progressive feel to it. The calm, wistful interludes add a touch of class and style, the guitar playing is exquisite and just gives me a nostalgic shiver down my spine. Christina is, once again, showcasing her huge vocal talent on this track, she really is the epitome of her Twitter handle ‘Prog Queen’ and must have one of the best voices out there and not just in progressive rock circles either. Rob Reed’s elegantly languid keyboard playing is a delight to listen to and Chris Fry certainly knows his way around a six string, his guitar playing is tight, fluid and very absorbing. This song has some riveting, engrossing moments and then there are also some brilliant pieces where they seem to just go for it and the music takes over. Not once do you think that any of these tracks have gone on too long, in fact it is the exact opposite, you’re left wanting more and the the ending to Colours is a case in point, an uplifting, tumultuous overture that has prodigious amounts of raw emotion and soul, you can literally hear it in the Christina’s voice and Chris’ guitar and there, just in the background, the brilliant bass playing of Dan Nelson is the conductor bringing things to a refined close.

Adding a final climactic flare to the album Legend begins with a very serious undertone, the guitar all fire and brimstone and Jiffy’s drums a dominant driving force. There’s a lull and then Christina’s honestly heartfelt and yet slightly severe vocal joins in adding a sheen to this sombre tale. It’s a heartfelt and emotive track that has a darker underbelly, all mournful and forlorn. A ying and yang between the darkness and the light follows, the hauntingly memorable chorus trading shots with the more mournful and pensive verses. A fiery guitar solo lights up the darker elements and then a short-lived intricate,determined and resolute section takes centre stage before Christina’s delicate vocal adds an almost ethereal and engaging grace, added to by some elegant guitar playing, a moment of serenity among the drama and theatricals and yet one that emphasises just how good they are. Christina is centre stage on this song, she is the leader and the focus, her voice full of fervour and feeling and it just entrances you. Once again Magenta show they know how to close out a song with swagger and verve, an inspirational and almost spiritual end to what has been an incredible musical experience.

There’s a huge amount of pride in titling your album ‘We Are Legend’ but Magenta deserve to give that name to this excellent release. The longevity of nearly two decades in the business has given them well deserved kudos and they have built on that to give us three songs that inspire and stimulate the listener. This record is a sublime forty-nine minutes of musical bliss and sees Magenta back in the top echelon of progressive rock acts where they deservedly belong.

The CD will be accompanied by a DVD containing the whole album in 5.1 surround sound plus interview and performance videos.

Released 20th April 2017

Pre-order ‘We Are Legend’ in all formats from the Magenta webstore

Review – Nem-Q – Fault Lines – Terranes – by Progradar

In April 2016 I reviewed ‘Fault Lines – Subduction Zone’, the first EP in a two-parts concept piece from Dutch band Nem-Q and now the second part of said EP, ‘Fault Lines – Terranes’ has arrived at Progradar Towers to complete this ambitious project.

A “fault line” means fracture. The double EP album cover shows a fracture (fault line) between a heart and a brain. This not only marks the division of the album, but it also shows the inner struggle of choices and the consequences. The new songs vary widely in dynamics and atmosphere and are closer to the band than the previous (concept)album.
Nem-Q are Paul Sieben (vocals, guitar), Mark Reijven (guitar), Maarten Meeuws (bass), Dennis Renders (keys, vocals) and Twan Bakker (drums, percussion).
 

You can read my review of the first four tracks that make up ‘Subduction Zone’ here:

Review – Nem-Q – Fault Lines – Subduction Zone – by Progradar

The second EP, ‘Terranes’, opens with Perpetual Motion and the intro is very smooth, cool and laid back with a delicious bass line and drum beat. It almost has a rock infused jazz feel to it with the off-kilter beat and Paul’s classy vocal. These guys have just carried on from where they left off at the end of ‘Subduction Zone’, a quite mature and earnest piece of music with some impressive playing as the song gets heavier, almost agonising in its earnest intensity. There’s an intricate instrumental section in the middle with an uplifting vocal delivery, technical but with heaps of emotion and soul. An apt description for this notable group of musicians.

Bipolar has an unsettling opening, focusing on the title of the track. All edgy, and harsh and with a chaotic feel, you are drawn into the maelstrom and left to find your own way back. The vocals are precise and measure with a fervent, almost mocking tone. My mind feels like it is in the middle of a disturbing, confusing vortex of sound. The band use the music to tell the story perfectly and the undercurrent of agitation can be felt all the time. A special blend of progressive metal concept storytelling that has you hanging on every note.

The longest track at seven and a half minutes, Confusion has a mysterious and enigmatic feel from the first note. It moves along with cryptic undertones, the keyboards giving it a questing and searching aura before Paul’s knowing vocal joins the fray. This track seems to want to stay in the shadows, furtive and hidden and yet erupts occasionally with powerful and combative outbursts of emotion to give it hidden depths. Around halfway though the song, however, it morphs into something altogether more outgoing and demonstrative. There is a power that was previously concealed and yet now appears in all its glory, the keyboards take on a more urgent note and the rest of the rhythm section, drums and bass, join in giving in a breathless edge as its races to some unforeseen conclusion, a song of two distinct sides, darkness and light.

A much more metal side to Nem-Q becomes apparent with Misguided, the vocals have a menacing tone and the music a much sharper edge. There’s a faster pace to the song and every note seems to be delivered from the bowels of the earth with increasing magnitude and power. It’s like someone has turned everything up to 11 with no care for the plaster on the walls, the dynamism and impetus is addictive and just carries you along with it to the elegant close.

The last song on this EP ( and the whole concept) is the title track Fault Lines and it has a potency and stimulus that could move any leviathan. The electricity crackles and burns just under the surface as the keyboards, give an eerie note over the rabid riffing of the guitar and the frenetic drums and high-energy bass playing anchors this violent vortex of musical efficacy. There are some really intricate instrumental sections among the vibrant discord and the song comes to an abrupt close leaving you to catch your breath and admire what has gone before.

The perfect partner to ‘Fault Lines – Subduction Zone’ and one that completes the circle, ‘Terranes’ shows a band content with their identity and musicians with all the skill in the world. Excellent songwriting and compelling tunes which, when added to the first EP, form a whole that is greater than the already substantial parts. More heavy progressive rock than prog-metal, whatever you call it, just make sure you add it to your wish lists!

Released 21st January 2017

Order from the Nem-Q Store:

http://www.nem-q.com/store/

 

 

Review – The Bob Lazar Story – Baritonia – by James R. Turner

An incredibly inventive and eclectic due of Matt Deacon and Chris Jago, The Bob Lazar Story have been purveying their own unique blend of tritonal wankery since 2006, and this their latest magnum opus (that’s an Irish PI cat eating an ice cream to you and I) is now out on the Bad Elephant label.

Home to such instrumental wizards as The Fierce and the Dead and The Brackish, The Bob Lazar Story’s blend of prog, metal, fusion and huge dollops of humour fits right in with the labels ethos. Despite the fact that Matt is in New Zealand and Chris is in Los Angeles, the tightness of their playing, and the way they interact sonically with each other and the material makes it sound more like they recorded it together after a night rearranging all the genre sections in an HMV.

Frank Zappa once asked ‘does Humour belong in music?’ and I have had this debate with various people online and in the real world equivalent of Facebook (The pub!) and some po-faced Joe’s who think music should be serious and revered and played with a straight face disagreed mightily with me.

Whilst they have that opinion, they are, quite frankly wrong.

When you have the musical playfulness of ‘Baritonia’ bouncing out of the speakers at you, it’s clear that these guys know a) how to play and b) know how to play.

There is a lightness of touch and knowing wink in a lot of this album, and with titles like Toptop Switcherooney, Elbow Patch Man, In The Woods with Tony Iommi and Escape Tits it looks like that a) they revel in the absurd and b) have been reading Simon Godfrey’s twitter feed.

You can have fun in music, whilst still respecting the art form, and this is where the Bob Lazar Story’s strengths lie.

They jump gleefully from sound to sound, building some epic pieces, like the wonderful LOL, Defiantly with it’s classic synth sounds, or the aforementioned In The Woods with Tony Iommi, which is one of those walking holidays that could turn into either heaven or hell.

Mining their own rich seam of inventive, playful and joyous instrumental music, it’s hard for us reviewers to lump this into any genre because I think they’re a one band genre all by themselves, and as you listen to tracks like Make it Like It Used To Be the squelchy synths and rollicking riffs put a great big daft grin on your face.

Pop this into your ears and enjoy as another wonderfully exciting chapter in the Bob Lazar Story has just been written.

Released 14th April 2017

Order ‘Baritonia’ from Bad Elephant Music

New music from ‘a strAnger’: “One Day” – by Progradar

Swedish music act a strAnger is truly independent, DIY to the bone. Fairly eclectic, but fundamentally a rock and alt music act and have been described as :

“Beck gone Soundgarden lite hardrock with the cheerful bastards of Radiohead playing lounge music in the background”.
– RockUnited

For Swedish singer-songwriter act a strAnger, music has always been an eclectic undertaking. Starting out playing in bands ranging from thrash, to heavy rock to grunge and punk-rock, while at the same time honing his acoustic skills on his own and appreciating a wide range of other musical styles; a strAnger does not worry much about genres.

In a change from the norm he has release his latest album ‘Insatiable’ on a track by track basis through 2016 and 2017 and on April 4th released the seventh track One Day. Lyrically it is a social commentary; staging the big brother – little brother relationship in a socially and criminally challenged environment.

The last couple of years have been a lot about finding a path for music in Sweden and the West, coming back from the dynamics of China. And finding a path in the changing landscape of music. Which in turn impacts the way to release music, as well as finding a balance between where and when. a strAnger is delighted to finally be sharing the fruit the last couple of years’ hard work with his new
collection of songs ‘Insatiable’.

You can buy the first seven tracks (including One Day) from bandcamp here