I received this album to review without any preconceptions, save for the knowledge that the band are Italian, and I was greatly excited to dive in head first and try something new to keep the process fresh. My intention was to write a first listen ‘experience’ piece and then to reflect on this after further play-throughs, however there was a problem – I was worried about the ‘Englishness’ of the title.
My fears were confirmed when I realised that this album has vocals sung in English and my experiences are not great in the area of foreign bands not singing in their native language: Men of Lake I am looking at you! (one track reminds me of them, hence the reference). Anyway, I scrapped my initial approach after my first experience of the singing here.
Why sing in English, oh why?
Is it purely a commercial consideration if English is not your native tongue? Unless a singer has a fantastic voice or personality (to compensate by emoting) it rarely works. For Pandora we have male and female vocalists who, I can confidently say, sound infinitely better when singing in their native language. They both have good enough voices but, and this is probably a personnel thing, they fail to convey enough emotion to lift the music when singing in English.
Low end blues!
The expression ‘throwing in the kitchen sink’ applies to ‘Ten Years…’ we have new tracks, old tracks and cover versions here. The arrangements and compositions are also multi-faceted and stop-start and are perhaps being overly progressive for progressive rocks sake. The overall sound is heavily orchestrated and; to coin a new expression(?) ‘oversynthed’. The lead lines are too clean and don’t appear to sit well with the music. To exaggerate this there is a lack of both bass in the production, and also bass guitar in the mix. Many modern bands from Italy excel in the bass guitar department and the lack of such strength here is disappointing.
Cover versions…..Hurrah!!?
Nearly half of this record consists of cover versions, and whilst these are interesting and well done I ask myself the question why perform and publish them over original works? We have presented here Second Home By The Sea, Man of 1000 Faces, Ritual – Part 2 & Lucky Man plus a snippet of The Lamb Lies… A diverse selection of classics with enough deviation from the originals to be worth exploring, however, all suffer from the above mentioned vocal and production issues.
Advice: Give it a listen if you can and stay open-minded
In summary, this is actually a reasonably enjoyable recording that does improve with many plays, and it does have its own voice and style, it is just unfortunate that some of the execution and decision making drops it below the premium level that is being set; and perhaps demanded, by this listener.
Recently I had the privilege of talking to TEDDY – JAMES DRISCOLL from TELEPATHY, a band who are generating a fair bit of interest from the Press, with new album ‘Tempest’ (which I also had the opportunity to review for Progradar) and the single from it, Celebration of Decay.
Hi Ted.
Hi Kev, great to talk to you.
Things seem to be going quite well for the band at the moment with the new album garnering favourable reviews, the single release and with some upcoming tour dates to promote them you must be feeling quite pleased?
Yes absolutely, the band have had a good team behind them since before I joined in 2015 and we all have a lot more experience now. Various people do a great job of handling our press and promotions for UK & Europe, plus we are on a great label who are very responsive to what we need and want to do. We are pleased the album and single have had a good reception so far.
Reading the blogs you seem to thrive on touring, are you the sort of band that feeds off the audience rather than shoe gazing as you play?
Yes, we tour as much as possible, between day jobs. We obviously would like to do more gigs and it to be a full time thing. We like the immersive experience live, and have great crowds who always come to see us afterwards for a chat and it’s important to connect with them.
I notice that you have stayed over in some unusual places whilst touring, a converted meat freezer and an old bank/squat? It beats sleeping in the van but are these the most unusual places you have stayed and any odd incidents?
Last tour we did in Belgium, Pete, a tattoo artist, put us up in the squat, it was really nicely done up. It’s occupied by a left wing activist cooperative and they were really nice to us, although we have no political leanings and stay away from it with our music. We were in the vault and it was very cosy but a bit weird as it still had the huge vault door and we wouldn’t have wanted to get locked in. The next night we were put up in an old meat locker that has been re-purposed in Antwerp, with bunk beds and kitchen. You could still tell it was an abattoir but it had been cleared out and done up with a shower block upstairs.
Beats sleeping in our van that we tour in, nicknamed ‘Pumba’. The Turek brothers’ Dad usually does the driving for us, with Rich’s Girlfriend doing the Merch stand and my brother as roadie. But it will be just the band on these upcoming dates, all the gear squeezed in ‘Pumba’ with us. We are precious about the sound but at the moment tend to use house PA systems whilst trying for the best sound possible and it’s usually pretty good. We understand with the complex sound we need it as clear as we can and would like own sound guy eventually.
How do you find the audiences here and abroad, is it a wide age range, are they more male than female?
It tends to vary in regions rather than countries, an audience in London for instance may tend to be more serious than one up North where they like to have a bit of fun. In Europe, again it is different for various areas in each country as well. The audiences do tend to be predominantly male but we are starting to notice more females watching with a range of ages.
What happens on tour stays on tour, but who’s the ladies man out of you all?
All of us have girlfriends except Peter, we call him Mr December as he’s our calendar model, He’s such a good looking guy so definitely him. He always stands out when we have a photo shoot, but he’s no lothario and always a gentleman.
There is plenty of information on line but it seems to neatly sidestep personal details about you, is this a conscious effort on your parts to keep it separate and do you feel a need to retain a certain amount of privacy?
I didn’t realise there wasn’t more information on our site, I will check it out. We don’t feel we are big enough, for the amount of interest in us at the moment to be to be an issue. We don’t really mind people knowing about us, I hadn’t really thought about it until now and myself I’m quite an open person. We don’t tend to get asked those sort of questions usually just the generic press ones.
Outside of the music do any of you find time for hobbies or interests?
We all have day jobs, I work in a call centre which I enjoy. I go to kick boxing and have quite a busy social scene that takes up my time. Rich focuses his attention on the band out of work whilst Albert and Peter love their motorbikes. We don’t rehearse every day but it tends to build up in intensity more, nearer gig dates. Before the CD was released we spent the whole six months prior on the band. We are all focused and know where we want to be with the band and the level we want to achieve.
In your busy lives do you get time to listen to any other music and do you have a guilty music pleasure?
Good shout, I saw two gigs by ‘Everytime I Die’ before Xmas and love ’em. In the gym or car I tend to play metalcore & deathcore, bands like Killswitch Engage. That sort of music was popular when I was at college and I grew up with that sort of thing. The lads like to rib me about it. Guilty pleasure? We have Cyndi Lauper’s greatest hits in the van and have a good sing-along as a bit of light relief when we’re touring.
So how did you get together with the band and why this style of music?
I had my own business, a cafe which didn’t work out, was off looking for a new job and saw Rich’s message on a Facebook group looking for a bassist. I’d played guitar and though ‘F*** it’ I’d give it a go. I didn’t own a bass at the time so borrowed gear off a friend, rehearsed a few times learnt the first album. I tried out and it just clicked then we were straight into doing the new album. ‘Celebration’ was the only one already fully written when I joined so I had to learn it. The rest of the tracks were written as a band thing, all four in a room and we are all so opinionated. Peter is always writing riffs and I have a few riffs but the one in ‘Smoke From Distant Fires’ is my only one on this album.
We do it as a collaborative effort and all have our different ways, I tend to sit back and feed off the others. Having played guitar before, bass is a totally different discipline and I have had to teach myself, incorporating my own style into it. I like to emulate Geezer Butler he’s one of my main influences. I’m quite good at arranging so say my piece when we are doing this and that is probably where I am most involved, in the arrangements. There is more space on Tempest than on the previous album, which allows it to breathe and expand. It’s designed as a soundscape.
There has always been a need to categorise the style of music played, into genres and you describe yourselves as ‘furiously played progressive sludge, intricate soundscapes and a bucket-load of riffs’. Do you think labelling your style restricts you and the prospective audience as whilst I agree with most of the sentence, I wouldn’t call your sound ‘sludgey’?
Aw, thanks Kev. Thing is with us, I know it’s an old cliché but we don’t like labels. We get called post metal a lot among other titles and we definitely have that sort of influence, but try to put lots of different genres in, to me it’s ‘InstruMetal’ our own style.
On listening to the album I personally felt the absence of vocals (negating those briefly in the background of Echo of Souls) added rather than detracted. It allowed me to focus on the complex melodies. Did you plan to be an instrumental group?
When the band first started they were going to get a vocalist but things evolved and they felt one wasn’t needed. I did vocals on Echoes, for an effect and we may use vocals in future if it serves a specific song. I’m open to it if it works but if not leave it out. When I first watched the band before joining I thought vocals would be good, but now I’m in the band it feels more and more like they’re not needed.
How did the concept of the album come about?
When I first came into the writing process a few names for songs had been kicking around. We started writing and three or four songs in after demoing them we began to establish a theme in our minds and discuss what the music made us think of. Two themes in particular stood out water and earthquake ruins. We developed the story from that, with each new song bringing a new part of the story.
Peter played what became the intro to the album whilst we were working on tracks and we thought it would be a great start. As if someone woke on a beach to all of the devastation and go from there. You can get your own storyline from the music seeing it differently to the band. That’s the beauty of it being instrumental you can paint your own pictures.
You must all have dreams and ambitions but put on the spot where’s the one venue you would most like to play and why?
I have loads, but I would feel I’d made it if I could play Brixton Academy, headlining. We are happy for our progress to go up in small increments, start at small venues and sell them out, then build up hopefully.
I know you supported Raging Speedhorn and they are fans of yours, given the chance what other act would you like to play on the bill with and do you know of any other famous fans you have?
If I could chose from any bands, Mastadon, Gojira, or Tool. No famous fans that I know of other than Raging Speedhorn, their Bass player Dave wore a Telepathy t-shirt for one of their gigs we felt really honoured.
Are you technologically minded and gadget freaks or are you straight instrument and amps guys?
Pete and Rich have vast pedal boards with all kinds of effects, I wouldn’t even try to tell you what they do. I keep it simple with a tuner and distortion pedal, but I trigger samples between songs as well, as we don’t like to leave silence between tracks. The continuity is important to tie the tracks together. For the most part with the music sounds we generally use big distortion, wind and atmospheric noises, waves, birds etc.
Albert’s drumming makes it sound intense, without him we would sound totally different, he’s awesome. He doesn’t talk a big game but when you see us live everyone watches him, I know, I used to when I watched the band.
So what would you say has been your greatest extravagance to date?
Love to be able to tell you we’d trashed penthouse suites in hotels and partied all night, but we are just happy to get beers and food on our rider. We don’t have a lot of luxuries as a band as it is still very grass roots. It’s the kindness of others that gives us the extravagances like when we were given an apartment in Germany for one gig, fully stocked, next to the venue just a few steps away. It was really nice having our own space, in Tilburg.
We went out and bought 30 beers after the gig and drank them outside and that’s about as extravagant as we get. The generosity of others keep us going. Everyone has been so nice and helpful at the moment including the press. Yours is the best review I’ve ever seen, it’s cool that you really got what we are trying to do with the album.
So, to the the most important question of the day before we wrap up our chat, yoghurt and fruit or full English breakfast?
Oh, full English 100%, given the choice, every time. Especially on tour, continental breakfast just doesn’t fill you, definitely full English.
Well it’s been great talking to you Ted, thanks for taking the time out to chat with me. I hope all goes well with the release party and touring the new album. Who knows, I could be interviewing you in ten years time, with multi-platinum album sales after selling out Brixton Academy.
That would be awesome and if we’re up North, you must hook up, come to see us live and catch up, thanks Kev.
And with that we ended our chat. Ted’s a lovely bloke and I wish he and the band all the best in the future. I will certainly make the effort to try and see them live as well as meeting the rest of the band. Who knows, in ten years time….. Mind you, by then I don’t know if my zimmer frame will fit back stage.
‘Tempest’ is released on March 31st and you can pre-order it from Golden Antenna here.
You can read Kevin’s great review of the album below:
“A four piece Instrumental band from Madrid who mix genres like Postmetal, Progressive, Sludge, Doom, Experimental… Our debut homonymous album is out now via Nooirax Producciones. Music for fans of Intronaut, Mastodon, Russian Circles, Opeth…”
I am an eclectic soul musically, maybe even a hoarder of music. I still have the original copy of the album of Disney’s Jungle Book on vinyl and my Thunderbirds maxi singles from the 60s. The result being I have physical collection of a true reflection of the development of my musical taste and how it has evolved since I was knee high to a phonograph. My boss Martin at Progradar seems to love sending me curve balls from the extreme ends of the musical spectrum that fits the loose term progressive. (It’s true, I do – Ed.)
Firmam3nt, hailing from “Mordor” (aka Villalba, Madrid) are one such band and their debut album from 2016 landed in my inbox last week. They are a four piece instrumental band consisting of Jorge Santana (Drums & Percussion), Alberto Garcia (Guitars), Txus Rosa – Guitars and Sergio González (Bass).
I honestly think the description from the top of the bandcamp site does them an actual disservice. The image musically is one of constant thrash and hammer & tongs metal when, in reality, that tells maybe 50% of the story. I will explain as I go along but this album is not constant chord of doom and despair but is, in fact, far more nuanced and subtle.
This is a four track album with the primary points of the compass as titles. Representative of the varied influences of the band or the mixed direction of travel they represent.
North opens with a riff of Sabbath proportions, the very essence of ‘the end of the world apocalypse’ travelling into a riffola of rich variety playing in the very metal pond then, inside three minutes, turns into a semi-classical themed electric guitar mellowness which cuts in unexpectedly, pleasantly surprisingly too, before the riffology cuts back in again, not letting you get too comfortable. This is pure guitar driven interplay and these guys are tight as a “gnats Chuff” (to paraphrase a friend). They sound like they know each other well musically and trust each other to follow where things may lead and land in a good place. In a few seconds under 14 minutes they travel a very long way and end this track in a double bass drum rolling thunderous attack that is not for the faint hearted.
The other tracks all fit this pattern, reflecting well crafted instrumental pieces with fine soloing from the guitarists Alberto and Txus. Textured layers with lots of time changes and unexpected lulls in the pace keep the ears interested enough to revisit the album.
The last track South reflects the slow and softer side of the band a lot more. Call it the Southern winds, light and warm, then building up into a storm of intensity closing with a piano that fades to a close.
I played it through about 10 times before considering how to address the review and found enough for me not to want to rush this out and do the band a real disservice.
Who is the audience for this album for then? It’s not for those with a pastoral bent or with a rigid idea of progressive music. If you like The Fierce and the Dead, the darker Porcupine Tree, older Opeth, and bits of Mastodon too then you will get something from this album. Like all instrumental music, if you are looking for songs or easy themes you are not going to find them. It is pure emotional response that gives the interpretation. It is also very hard to wax lyrical over insight and meaning for the same reason.
“Nobody who loved life and new experiences that much was ever going to get old, not really. Wiser and eventually dead, but not old…” – C.E.Murphy.
Don’t you find that sometimes you seem to stick to what you know, you are loath to try anything new or different because you may not like it or it may take you out of your comfort zone?
The problem with this way of life is that you can grow old and eventually die without having tried something that may well have enriched your life and changed it very much for the better. How can we truly say whether we like something or not unless we actually try it?
This can be applied to music just as much as anything else and even us music journalists can be guilty of this. We only listen to music we are comfortable with and will not go out of our comfort zone for anything. By doing this we then lose the right to criticise or critique music which we have only a passing interest in. We must embrace it, or at least try it, before we have the right to an opinion.
I have spent so much time recently listening to the pastoral and traditional progressive rock that I have neglected other music to a degree. I have redressed this recently with my delving in depth into Scottish folk and Americana and it was due to a good friend of mine, Aloys Martens, that my old love of a more metal approach to Progressive Rock has been rekindled.
Aloys introduced me to the Polish band Retrospective and their label Progressive Promotion Records, led by the uber-enthusiastic Oliver Wenzler, and a copy of the band’s new album ‘RE:SEARCH’ was soon winging its way to Progradar Towers for review.
Retrospective represents a young generation of Polish ProgressiveRock bands. Their music is inspired by different artists covering a broad spectrum of musical genres (Porcupine Tree, Tool, King Crimson). The band is not restricted to a particular music style either. They search for different kinds of rock, ranging from Art to Hard. Lush musical atmospheres, full of emotions, are complemented by thunderous riffs, to enthrall the listener and create asound that makes them stand out among their contemporaries.
They have released one previous album, ‘Lost In Perception’
which won the award as “Best Polish Progressive Album 2012”.
The band are: Jakub Roszak (Vocals), Beata Tagoda (Keys, Vocals), Maciej Klimek (Guitars), Tukasz Marszatek (Bass), Robert Kusik (Drums) and Alan Szczepaniak (Guitars).
I still get that same buzz every time I start playing this album (it must be 25 or 30 times now) and Rest Another Time once againopens with that thundering riff and dynamic drumming. The vocals are powerful but laced with pathos and the sound is as addictive as anything. Funky bass lines add some swagger but it’s that energetic guitar work allied with Jakub’s vocals that give this song efficacy and intensity. A really great central section to the song that just racks up the tension brings in mind Creed to my delicate ears, it’s a positive rock-fest of thunderous proportions and gets the album off to a very auspicious start. A great piano line opens Right Way with an almost hushed feel, matched by the stylish vocals that increase the anticipation. Beata adds her feminine wiles to the track and the tension just increases with a great keyboard heavy melody that gives the impression of flight and then Beata’s vocal opens up like a great bird opening its wings to be set free from its mortal coils, the vocal interplay is brilliant and gives an overwhelming symphonic prog overtone to proceedings. A passionate song that really tugs at the heartstrings and the musicianship is superb, these guys are at the top of their game here and there is a classy and stylish feel to every note that is played.
Crashing the scene like Lemmy on a Harley Davidson, bottle of JD in hand, The End Of Their World is a riff-heavy masterpiece of progressive metal. A sultry verse with husky vocals, underpinned by some delicate drumming, keys and bass, builds up to the huge, granite hard chorus dominated by the grooviest riff you’ll hear this year. Sit back and enjoy the ride and sing along to that addictive chorus, I know I did! There’s more serious mid section with mysterious overtones and wildly cackling voice overs that make you wonder if illegal substances may have been involved but, overall, it is a hugely enjoyable slice of heavy rock infused prog-metal. A nicely strummed guitar opens Rollercoaster before the plaintive vocals begin, Beata imparting poignancy and feeling and Jakub adding some urgency and steel to provide a perfect combination. You get a feeling of floating on air as this track seems to dance along your aural receptors but wait, the pace is lifted and the energy increases, mirrored by the insistence of Jakub’s voice. The softer edge has been replaced with some stylish metal and a cool melody runs right through the middle giving import and imperativeness to that harder feeling that now pervades all. A cleverly worked song of two halves that fit together well.
Time for a breather and the more laid back side of Retrospective. There’s a delicate aura to the opening of Heaven is Here, a chilled laid back nostalgic feel that gives lightness to your being. The vocals are smoother than silk and full of emotion and love and you find yourself losing yourself in the wistful atmosphere. The classy drumming and piquant guitar add dignity and style and layers of sophistication. I can feel a growing maturity in this band, a confidence to deliver what they want and what they know you will like and it is most evident in the swagger of the powerful chorus with the vocal harmonies that soar into the heavens, aided and abetted by the superb guitar playing. There’s a philosophical tone to the opening of Look in the Mirror, contemplative and thoughtful and this is reflected in the gravitas of Jakub’s opening vocal with his meaningful intonations. Beata joins him on the chorus sections to add even more class and sophistication to this intelligent track. I really like the purposeful beat and melody kept by the rhythm section and the resolute guitar work, it’s a single-minded and cultured song.
Compelling and energetic, Last Breath opens with an authoritarian riff that drives the song on at a demanding pace, influences abound all over and get drawn into a huge melting pot before firing out with what is becoming a signature sound for this impressive band. There’s almost a feeling of organised chaos to the song, anarchy barely held back but there is a primeval intelligence that is coordinating everything. Standby has a much more relaxed atmosphere to it, almost pop-rock but in a much more dynamic way. The vocals from Jakub and Beata are composed and easy going giving the song a laid-back and serene nature. There’s definitely a touch of Porcupine Tree and even The Pineapple Thief to this track as it goes a bit darker at the end with a fantastic riff and fiery solo adding real menace to it.
The longest and heaviest song on the album is also the final track and boy does it blow you away! The Wisest Man on Earth starts to crank up the tension with eerie keyboards and bass adding an ominous feel, very Tool like. Bass is really king at the start and Tukasz gives it his all, making the tension almost unbearable. Jakub’s demonic vocal just adds even more shade and darkness before a monstrous riff erupts from the bowels off the earth and nearly takes your head clean off. This is proper heavy rock with a touch of doom metal thrown in just because they can and I really like it. Never mind blowing the cobwebs away, this riff will eviscerate the spiders! Jakub shows the incredible versatility to his voice and I get the impression he really enjoys giving it large on this song. There’s a quieter section, Jaukb’s vocals still low down and brooding, before a superbly dark and delicious guitar solo fires from the dark pits of Hades and the song closes out in a sinister and portentous way, brilliant stuff!
Retrospective produce music that is aggressive and forceful and yet knowledgeable and perceptive in places, this is progressive rock at its heaviest and most intense. There is something for everybody and it is a release that will restore your faith in Progressive Metal. ‘RE:SEARCH’ is chock full of compelling and intelligent music that makes you feel alive again and I cannot recommend it highly enough.
“The flicker fusion threshold (or flicker fusion rate) is a concept in the psychophysics of vision. It is defined as the frequency at which an intermittent light stimulus appears to be completely steady to the average human observer.”
Flicker Rate is an Instrumental, Guitar based Progressive, Post Rock / Math Rock Solo Project that fuses progressive ambient guitar playing with strong creative melodies and riffs to produce progressive songs that keeps the listener interested throughout due to the cinematic build that each song holds. Spencer Bassett played and recorded all instruments on this record, which was also mixed and mastered by John Bassett from the project Arcade Messiah.
Since then Spencer Bassett has been growing his fan base on social media, finished school and written his second EP ‘Reframe’Flicker Rate fans have been looking forward to what Spencer Bassett has in store for 2017.
I reviewed Spencer’s first eponymous Flicker Rate EP and had this to say about this talented young man:
“What Spencer has done though is mould it into his own creation and it is something of which he should be very proud. Keep an eye out for Flicker Rate, this is a musical project that is definitely going places.”
He’s an unassuming, affable young man and has always been unfailingly polite whenever I have spoken to him and this is reflected in the meticulous creativity of his music. The opening and title, track Reframe is a wistful, cultured piece of music that brings to mind days of sepia tinged nostalgia. The hazy days of high summer when you had not a care in the world. Let the sun warm your back and the wonderful music wash over you.
There’s more of an edgy tone to Summit with it intricate riffing and stylistic drums. Inventive and intelligent, there’s a questing tone to the insistent beat, one that gets under your skin and won’t let go. Spencer has all the chops and is happy to let us see that but is never pretentious in any way and is also content to ply his own trade and not hang on to the coat tails of his illustrious father. Where John Bassett has become king of the incredibly dense wall of sound, Spencer is a whole lot more subtle and understated in his style. There’s a lovely about-face towards the end of the song where the music takes on a more sombre tone and feel, bringing the ambience low down and laid back and the song closes with an air of mystery and unfinished business.
Spectrum has a real world music, jazzy character from the start, the staccato guitar and drums almost reminding me of Flamenco at times. An uplifting melody but also one that has a serious undertone, a performer who is playing through some unknown pain or tragedy perhaps, it certainly touched a nerve with me in parts. Clever and creative.
The final track on this EP is Airspace, a thoughtful and contemplative piece of music that could have been taken from the soundtrack of a science fiction movie. It may just be me but, at times, I was getting transported back to 1981 and ‘Ghost In The Machine’, released by the legendary The Police. The repeated rhythm of the guitar and the sober, serious deadpan delivery just reminded me of tracks like Spirits In The Material World and Invisible Sun. It is a song that shows the growing maturity of this excellent musician.
Spencer has, once again, exceeded my expectations with his latest Flicker Rate release. Improving on the debut EP but still keeping his signature character, ‘Reframe’ is a composed and self-assured piece of work that showcases his talent brilliantly, we just need more of it!
I started off this review by writing a load of overblown drivel about Steampunk Troubadours and Stalinist Dystopias.
But then I stopped, because I realised there is not a lot that needs to be said about this album.
It is BRILLIANT.
What can I say about this album that doesn’t sound hyperbolic? It is, glorious, filled with horror, tenderness, despair, love, grime and beauty. Whilst being much darker and more serious than any of Tom’s previous albums, it is imbued with a humanity which hasn’t been as obvious before (unless songs about men transforming themselves into machines counts as humanity).
I have suspected for a while (since first hearing Rise Another Leaf from “Three Rows of Teeth”) that Tom actually has a large romantic streak running through him. On this album he has really found this voice – songs such as Satellites, Flow My Tears, The Policeman Said and Fire Flower Heart highlight this.
By the third song Satellites, with its lovely bass line, the album really gets into a stride which doesn’t then let up until the end.
Flow My tears, The Policeman Said is, I think, about a once honourable man who is now lost in some nightmare Gulag. I may be wrong. But it is superb, full of little musical flourishes and curlicues.
Even Then We’re Scaredwith its hint of a Black Sabbath “War Pigs” riff tells of how even with guns, fire, prayer, walls, databases and hiding under our blankets we are still scared of unnamed monsters.
“If you’ve got nothing to hide, then why should you be worried? There a price to be free…”, I don’t for a minute believe that Tom approves of the way our world is turning. I would love to hear the last 20 seconds live, as a 10 minute wig-out by a full band.
Fire Flower Heart is imbued with a delicate poignancy, lamenting the loss of a love who could possibly prevent disaster. Or maybe she would encourage him to press the button?
I get the feeling that all Tom’s previous works were a flexing of musical muscles, practicing for the real thing. This album is the real thing.
In no small part, I suspect that the excellence of this album is due to the work of two particular people – Jordan Brown and Daniel Bowles who between them played bass, keyboards and guitar and provided production expertise. They have found a way to get the best out of Tom.
Michael Cairns’ drumming contribution is tasteful, thankfully never overpowering the songs.
There is a strength and depth to the musical arrangements throughout the whole album – everything has a purpose to it.
Bad Elephant Music continue to astound me with the excellence of their releases. If there was any justice in the world, Radio 6 and Jools Holland would be full of music like this.
I cannot recommend this album highly enough.
Tom Slatter – vocals, guitars
Daniel Bowles – backing vocals, guitars, keyboards
Meteorological Spring is in the air and there is a buzz around the Progressive music scene which is currently a veritable hive of activity.
Music in general has seen an influx of singer/songwriters, some more of the worker bee type, scattered like pollen among the genres and trying to stick to a secure career, whilst others clearly stand out from the crowd as prime males with honey sweet tunes fit to serenade a Queen, the two recent releases from Marc Atkinson and Lee Maddison being fine examples.
Into the honeycomb flies Alan Reed with sophomore album ‘Honey On The Razor’s Edge’ and this time there’s a grittier, more assertive edge reminiscent of his work with his previous band and with echoes of solo outings by a certain fellow Scotsman nearing the twilight years of his musical output.
I have to admit that whilst I like Alan’s first solo outing it felt like it didn’t have his full confidence and was maybe reflecting in his situation at that time. With this album there is no hesitance and it’s straight in with up-tempo rippling keyboards and electric riffs on first track My Sunlit Room. Alan sounds in fine fettle blowing away any faint concerns as his vocal pipes dance a highland fling through the melody in this rousing starter that crashes to an end.
Now I mentioned another of Alan’s fellow countrymen and I have to say the main riff on Razor is very reminiscent of his output, but Alan adds his familiar style and harmonica flourishes (courtesy of a certain Mr Steve Hackett no less), as he argues with himself and exorcises demons. There is a great video release of this track on YouTube to enhance your listening pleasure on which Alan shows he’s moving on not looking back. My inside sources tell me he may have had sore skin after filming numerous takes for the video. Ah, the sacrifices a man makes for his art.
Cross My Palmwith silver and I’ll be only too happy to tell you this is a man who is not sitting on his laurels as he warns of treachery in the big smoke, but there’s no need to worry, with some nifty guitar soloing from Jeff Green and the keyboard flourishes of Mike Stobbie building to a crescendo finish it’s another belter.
Notable for their relegation until now, up pop the familiar acoustic strings on Leaving(no cause for alarm, he’s not just yet) as vocals wrangle, with lovely female harmonies on the chorus, over a twisted relationship. Now I might be mistaken but ageing ears cannot distinguish whether this track is bolstered by the stunning sound of the one and only ‘Leode’ from none other than Lazuli’s Claude Leonetti or an Ebow, either way c’est formidable.
I must also point out that Alan has an enviable trio of fine female singers assisting him on this album in Magenta’sChristina Booth, Harvest’s Monique Van Der Kolk and Weendo’s Laetitia Chaudemanche adding the cream on top of some tracks here, giving him vocal riches beyond avarice.
Not content to let the lady leave he begs she stay to the Other Side Of Morning, as he reasons with her over their differences and similarities, the good must surely out-way the bad times and Mike gets to bare the whites of his keyboards as stalwart drummer Scott Higham more than ably keeps the rhythm and beating heart of this track pumping, as he does throughout the album. This, the longest track on here builds to a fevered climax that is completed with one last gasping ‘stay’.
History lesson time, as this next track is about The Covenanter. Covenanters were Scottish Presbyterians who in 1638 signed the “National Covenant” to uphold the Presbyterian religion, and the “Solemn League and Covenant” of 1643 which was a treaty with the English Parliamentarians. The Covenanter’s made a stand for political and religious liberty that led to almost a century of persecution and their widespread migration to Ulster and the American colonies.
But their role in history was not as simple as that, as they were the children of the Protestant Reformation in Europe and sought to have the church of their belief, according to the Scriptures. Above all, there was but one Head of the Kirk – Jesus Christ, and they refused to accept the King in that role. From this opposition to the King all their troubles arose. Ushered in by the sounds of unrest, Alan protests with righteous indignation and berates the persecutors and liars throughout, casting light on Celtic roots at the heart of much of Alan’s musical heritage.
Alan is a gifted poet and romanticist, with the ability to touch the hardest of hearts, as on the penultimate track, recalling a love lost who ‘looked at me, like I Used To Be Someone. With a beautiful instrumental introduction and beat me with a haggis if I’m wrong but it may just be flowing from the lovely ‘Leode’. Tinkling ivories and guitar loops sway like smitten lovers on the dance floor in time to Alan’s lyrics. For me he never sounds better than on tracks like this, as the emotion he injects into his voice feels so genuinely heartfelt. The music swells and the wonderful sound from the beginning floats in again before the vocals tug gently at the heartstrings one last time to float delicately away on fading notes.
Alan’s work may take him away from his homeland, but whilst you can take the wee laddie out of Scotland, you can’t take Scotland out of the man, as he looks to the Northern Lighton the final offering of wistful musicality which midway through turns into an instrumental clash of clans before the keyboards kick thistles into the faces of the rest and triumphantly lead us out.
This is an album through which threads of tartan tinged tunes dance a merry jig with modern rock forces, and Alan has surrounded himself with an array of accomplished musicians to enhance the tunes pushing him firmly to the fore among his peers. I mentioned a certain fellow Scot earlier and Alan’s physical stature may not match the Big Man’s but this album proves he could well fill upcoming vacant boots.
Having had the great pleasure of meeting Mr Reed a couple of times he is a most affable chap, always willing to take the time to chat. Whilst in conversation with one of his colleagues on this album,he was described as very difficult to work with, but it was said with a wry smile and bundles of affection, because that’s the effect he has on you.
Alan is one of the nice guys in this business and he deserves every success with ‘Honey On The Razor’s Edge’, it’s a braw album. Slange!
Following last years disbanding of Sweden’s much-loved progressive rockers Beardfish, vocalist and driving force Rikard Sjöblom has turned his attention to his solo project Rikard Sjöblom’s Gungfly, and signed with InsideOutMusic for the release of their next album ‘On Her Journey To The Sun’ on 19th May 2017.
Rikard had this to say: “Gungfly was born out of necessity, songs came to life whenever there was downtime with Beardfish or if a song didn’t quite fit within Beardfish’s (otherwise quite broad and eclectic) frame of styles. I basically started recording songs, mainly pop-oriented material, but being the type of songwriter and musician I am, some prog slipped through the radar as well. With the break-up of Beardfish all of the prog-related material I write needed to go somewhere and Gungfly was ready and able for this step!”
The bewitching call of the Sirens is reported to have been irresistible. Mesmerised by the enchanting beauty of their songs, sailors were lured to their inevitable destruction on the rocks surrounding Scylla and Charybdis. Only two people are recorded as having escaped the compelling singing of these beautiful hybrid creatures: Odysseus returning home from the Trojan War who ordered his men to fill their ears with wax whilst lashing himself to the mast of his ship and Jason, leading his Argonauts to find the Golden Fleece, who overcame their siren call with the equally enthralling playing of Orpheus.
The parallels between the mythological narratives of the Sirens and Steve Hackett’s 25th solo album ‘The Night Siren’, are as fascinating as they are disconcerting. The two rocks, starkly framed on the album cover against the captivating aurora of the northern lights, may well be a nod to Scylla and Charybdis but it is also a clarion call to the need in these present dark times to carefully steer our way between the rocks and the hard places which threaten to engulf us.
Hackett believes that “it seems the world has been plunged into darkness. Wherever you look, extremism and intolerance are dominant, and people are getting fed up with politicians. They are losing faith in the way they behave.” We live in a time of discord, animosity, fighting and bitter divisions. ‘The Night Siren’ is a wake-up call, an unsettling shaking of the foundations on which we stand designed to open our minds, rouse us from our complacency and heed the urgent call to empathy, unity and peace.
To that end, much like the Sirens themselves, the album is a hybrid mosaic of songs featuring instruments, collaborators and musicians from around the world. Indeed, the graceful, elegant beauty of T’he Night Siren’ lies precisely in the delightful diversity of its songs as well as the endearing variety of the instruments and sounds heard within each song. The sound of the Indian sitar, the strings of a Peruvian charango, Celtic Uilleann pipes along with the tar and oud originating from the Middle East all contribute to the wonderful montage of musical voices which inspire hope and the desire for peace.
The album openly elevates, celebrates and embraces our unity within diversity. Unlike other recordings on which he has worked, ‘The Night Siren’ took Hackett well over a year to make. Recording took place in multiple locations, in a variety of different countries, using studios, rooms, wherever they could get the musicians together. “What I wanted to do was show that we can all communicate through the universality of one language – and that is music. It brings us all together.”
Making the album in this way not only adds greater flexibility to the music but also brings people together – and sometimes people who are unnatural allies – to demonstrate in a simple fashion that the multi-cultural approach offers us light in the darkness. Hackett is adamant that the album “represents a bird’s eye view of the world of a musical migrant ignoring borders and celebrating our common ancestry with a unity of spirit”. Bringing together singers and musicians from Israel and Palestine, the USA and Iraq he firmly believes the spirit of cooperation, collegiality and the bonds of friendship which can be formed through music make this his best album yet.
It is hard to disagree. If the Sirens of war, division, destruction, envy, spite and brutality are seducing the world in which we live, Hackett’s performance on ‘The Night Siren’ is no less akin to the enthralling musicianship of Orpheus leading us through these troubled waters. Music, he believes, “breaches all defences” and there is no doubting that his playing exudes an assured, masterful confidence and authority which is as infectious as it is inspiring.
There is an exhilarating sense of anticipation in hearing the way his guitar work interacts with and responds to the unique and dynamic combinations evolving within each song. Even with all the different styles, rhythms and tempos, he displays a blistering, stand-out musicianship which is wholly organic to, and of a natural piece with, the flow and momentum of the music. It feels right. Each and every time, it feels so right, so perfectly suited to the context of the other instruments and immaculately aligned with the way the song unfolds.
This has always been Hackett’s singular gift; a magical combination of exceptional talent and a nuanced insight which allows him to draw on the momentum present in the natural flow of the music and then rise above it with a passion and brilliance that often defies imagination. At times his playing is simply sublime. The space opens up for the guitar to speak and he fills it with riffs and solos that are beautifully refined, deftly played and charmingly sumptuous. He brings an understanding to the music which is movingly perceptive, poignant and evocative.
When you listen to music which is this articulate, played in ways which carry an unrivalled eloquence and charm by virtue not just of the central figure but also because of the virtuosity of those who surround him, the message he wants to convey cannot but be heard – and heard with a persuasiveness that only music can achieve. Forget about the boundaries, the walls, the frontiers, the borders. ‘The Night Siren’ will shake the ground on which you stand and make you feel the world anew through music because of the coming together of people from across the world who show the way to us all exactly what humanity can achieve when we come together in the name of unity and peace.
Resonant Frequency – Musical instruments make great use of resonance frequencies. The strings of stringed instruments, for instance, vibrate at their resonance frequencies when plucked or struck, and their vibrations against the surrounding air produce sound. For horns and similar instruments, the resonant frequency is actually in the column of air contained in the instrument.
I think we are all tuned into different resonant frequencies when it comes to music and maybe that’s why we like and prefer different types of music.
I’ve been through some ups and downs over the last year and I’ve always turned to certain artists for music that can lift my spirits and that cloud of negativity that may be laying over me. Many a time I’ve found myself walking home after a night with friends (and some alcohol it must be said) when a track has come on and completely changed my mood and taken me to a better place, quite euphoric at times.
It always seems to be the emotive and moving music that brings out this reaction in me, artists like Big Big Train and Abel Ganz have always resonated (see what I did there?) with me in a big way. More recently Scottish indie-folk artists along the likes of Blue Rose Code, Findlay Napier and Norrie McCulloch (review coming soon) have stepped up to the mark and delivered the music that is becoming the soundtrack of my life.
However there has been one new release that I just can’t stop listening to and really has become a must listen album of choice for the good, as well as the bad, times and that’s ‘Open Skies Exploding’ by Brett William Kull.
Brett (William) Kull is a multi-instrumentalist, singer-songwriter, producer, and engineer from the United States. He is best known for being a founding member of the band Echolyn, and long standing member of Grey Eye Glances. Brett is also an adjunct college instructor sharing his love for audio engineering and sound design.
Starting on December 24th 2016, and where timings allowed, Brett started to release two songs a week from his new solo album ‘Open Skies Exploding’. Being a one-man music producing machine he produced, arranged, played, sung, recorded, mixed and mastered the whole album, except where noted on each track.
My review will go through the tracks in the order and number they were released.
The first two tracks on the album to be released were My House Is Loud and Three Walls on 24th December 2016.
As Brett explains in his accompaniment to the release, “My House is Loud, includes the talents of my good friend and musical compatriot Chris Buzby. He played my Bostonian Ivers & Pond antique piano as well as my Fender Rhodes Seventy Three (not at the same time). On Drums is Jim Hines. I serendipitously met Jim during some studio session work and immediately knew I wanted to work with him on my own music.”
My House Is Loud is a bitter-sweet song, from the first note of the intro to the catchy guitar hook it is an uplifting and yet melancholy musical journey that just makes you feel like you are in the right place at the right time. Brett has one of those voices that is as smooth as velvet and has no rough edges at all. I find myself singing along and humming that addictive hook all the time. There’s a nostalgic feel to it, looking back at wonderfully happy times and how they have come full circle into the present and those memories are all that remain.
“My house is screaming in answers
My house is screaming in answers
The house is drowning in answers
The house is drowning without you
Just when I needed you most you said goodbye…”
That poignant look at the past is also central to the elegant Three Walls with its dreamlike intro and delicately strummed guitar that gives a sepia tinged look at the past through the wall-scribbled memories of a stranger from the past. The song ebbs and flows in your mind, the music like a gossamer shroud over which Brett’s thoughtful vocal is delivered.
“There’s a map that I stare at with my morning tea
The pushpins tell dusty stories
Marking great spaces between land and sea
But now only the distance between us…”
31st December 2016 saw the release of Dublin Rooftops and Hard Dying Time.
Brett’s notes state, “Dublin Rooftops came about like many of my songs – in the moments between putting the kettle on and hearing the kettle whistle. I turn my phone recorder on and “get lost” in these moments. Like all my “phone recordings” it ended up in a playlist of ideas waiting for attention. Eventually I booked a session with Jim Hines to play drums, not sure what I was going to do. I brought over three ideas to this session; this was one of them.”
Fragmented memories are at the core of Dublin Rooftops, a harder edges and more powerfully emotive track with Brett’s dynamic vocal central to the story. There’s a staccato feel to the drums and acoustic guitar, like an almost agonised cry for the memories that are lost and the plaintive vocal section that follows the chorus really makes you feel for the protagonist. The drums and bass really drive the track on and the guitar adds the required angst. Railing against a broken promise perhaps, it’s the most heartfelt and acerbic track on the album.
“Somewhere there’s a slide show
It wouldn’t play now, the device deceased, device deceased
But in a corner in my mind it plays all the time
Though only in fragmented bursting scenes
There’s a part where the rain came through the radio…”
“Hard Dying Timewas initially recorded in the fall of 2012 during a free form recording session. I invited some friends over to Catapult Sound to see what would happen. When you listen to this song (from the moment the drums come in) you are hearing how the song was played in an inceptive moment by Paul Ramsey on drums, me on electric guitar, Ray Weston on bass, and Jeremy Beck on piano. After the performance I immediately had Jacque Varsalona play acoustic guitar, I wrote the words and melodies, found the voice of the song, added the beginning section, and asked my friend Francis Dunnery to add a solo guitar… all the while not infringing on the initial feel of the song.”
With laid back and ambling intro, Hard Dying Time seems to have all the time in the world. The gentle perambulations of the musicians matched by Brett’s cultured and unhurried vocal. You sit back and relax and let the music wash over you. There’s an expansive feel to this song, in my mind I see the vastness of sun-baked prairies and a horizon that seems to be a million miles away. A song for untold millennia, for lives that seem to go on eternally, unreal and almost alien. Francis Dunnery’s solo seems to come from the very bowels of the earth yet it is as measured and nonchalant as the rest of this unruffled song.
“We’d light the rails and change the chase
We burned the house to roman glass
And shake the walls to wake the wolf
Ruminate remove the past
Into piles of hard dying time…”
Railroad Self and Punch of The Day first saw the light of day on 7th January 2017.
“Railroad Self was a lingering chord progression, left over from my Last of the Curlews project. Recently I felt the need to throw it back into the coliseum of combat to finish it off. One way to enable spontaneity is to simply force yourself into a position where you need to react without planning. My friend Kevin Wiggins and I occasionally do this with great success in the realm of writing songs. We find meaning in this through our intent. Whenever we hang out, music appears where music was not. Kevin played drums to my acoustic guitar; the song happened. ‘Nuff said.”
A really jazzy song with an upbeat vibe Railroad Self could be allegorical with all sorts of hidden meanings in the lyrics. Is it exhorting you to be yourself and not pander to other people’s thoughts of who you should be? It’s a great little song with Brett’s smooth vocals and the funky drums and dancing guitar, it may be introspective in meaning but it is certainly very extrovert in delivery and it’s one of my favourites on the album.
“See how she goes away
See how she’s gone away
She’s a lonely sound and gone gone gone…”
“Punch of The Daywas written into existence with the help of Jeremy Beck then Francis Dunnery, (aka Big Des). The construction of this song is a bit longer than some of the other songs… but sometimes you have to work for it, or at least inject that which is not normally used. Thinking about it, the lethal combination of Beck and Big Des has contributed to some of my personal favorites on this new album.”
One of the tracks I go back to most frequently and one that is full of emotion, Punch of The Day is a wonderfully affectionate and heartwarming song with one of the most memorable guitar hooks in it. A song of memorial it would seem, a heartfelt eulogy to a loved one perhaps, Brett gives another striking vocal performance of elegance and warmth and the music just adds layers and layers of pathos and sentiment to deliver a track that makes my heart bleed and the fragile beauty within, the solo is just a thing of wonder.
“Ride blind in your town tonight
To lean against some tide
Removing pieces of our love and longing
It feels so good and keeps you moving
Beyond the punch of the day…”
Song For Summer and Like Fading Stars – released 29th January 2017.
“Song for Summer features Big Des once again on drums. Des crystallized the song for me by playing the big tom-tom groove. It immediately gave the song the rhythmic energy I was hoping for. It is perfect! Leo Koperdraat from Fractal Mirror was kind enough to add his wonderful baritone voice for some backing vocal color.”
Song For Summer has a real singer/songwriter vibe to it, akin to Don Henley post Eagles. A song from the American heartlands about somebody escaping from a relationship but are they really escaping and are they really free? That’s what it seems to speak of to me. A repetitive rhythm from the drums is the core of the track. Brett gives a sultry vocal performance and the guitars occasionally break in to dominate proceedings for a while as the rest of the song treads water momentarily. An echoing beat holds sway as the story unfolds before you, it’s a story that will end but will it end well? Does it ever…?
“She wants to buy a world of wonder
She wants to write a song for summer
She gets to me cause I know that summer too
She gets to me cause I know that summer
I never wanted to be lovers that would call it an end…”
“Like Fading Stars, features Jim Hines playing a beautifully understated groove for my song. I used my very old piano with a damper on the strings to lull the listener into the quietness of the song opening. These songs are deep and full of emotional triggers for me and I hope you can find your own meaning within them. I know I cried many times as these lines materialized into melodies. Maybe you’ll get something out of them as well.”
An almost carnival-like piano note opens Like Fading Stars, a quiet echo almost unheard in the background. Brett has a stillness and tranquility to his voice, there’s a fragile grace to every note of this dignified and graceful track. Innocence exudes from all corners, a love story that takes place up in the heavens, in the stars. I take my own personal meaning from this song, to me it is inspirational and thought-provoking and reminds me of my own journey of self-discovery.
“Me here, and you there, same fading stars
Somewhere, we were somewhere
Like same fading stars
Oh, you were somewhere like fading stars
Somehow, we were shining
Like fading stars…”
The last track, Light of Things, was released on 5th February 2017.
“The last track for this series – by unplanned motivation – is called Light of Things. It’s a good one folks. I hope you agree. The 1-2 punch of Jeremy Beck and Big Des elevated the recording you hear. Jeremy plays the perfect piano accompaniment. He added a truly unique color to this song with his piano work, as well as some powerful backing vocals that are transparent and sublime. There is nothing overwrought in this recording. It is simple and fitting for my words and melody. I hope you find something in them; I know I have.”
A cultured and sophisticated song that just oozes warmth and bonhomie Light of Things wears its heart on its sleeve. A simple but evocative vocal and piano open the track before the drums join in and take it to another level. Brett’s voice takes the bittersweet, wistful lyrics and just lifts them to another level, things lost that will never be forgotten, looking back but not in any negative way. You get lost in this seeming personal journey as this remarkable musician opens his heart and soul to the gathered crowd. This elegantly subdued song leaves a mark on you that will never fade such is its impact.
“Now close as continents are away
The devil called at the end of your stay
As our burning time crashed to the sea
We were love that died in the air
From an arrow of secrets that you shared
Then the distance came in…”
A charming, captivating musical journey that will lead everybody on a different path ‘Open Skies Exploding’ is songwriting at its best. Uncomplicated and effortless, Brett Kull has that innate skill that the best musicians possess, the ability to make the listener forget themselves and be completely immersed in the spellbinding music that he creates. The man is a bloody genius, there’s no other word for it!
Released 24th December 2016 through 5th February 2017.
