Tag: Progradar

Review – Marillion – An Hour Before It’s Dark

“No matter how corrupt, greedy, and heartless our government, our corporations, our media, and our religious & charitable institutions may become, the music will still be wonderful.” ― Kurt Vonnegut

With ‘An Hour Before It’s Dark’, Marillion release one of their most upbeat albums of their career while, at the same time, they once again do not shy away from uncomfortable topics, reflect on their own behaviour, and put their finger in the wounds of time. 

The band’s 20th studio album, Like its predecessor, 2016’s critically acclaimed and chart-topping album ‘F*** Everyone And Run (F E A R)’, was recorded at Peter Gabriel’s Real World Studios. But, whereas it’s predecessor was more a dark and condemning comment on the government and the bureaucrats who ran the country, this new release deals with the pandemic in a much more hopeful and enriching manner leading to the band calling it their most upbeat album in quite a while.

There’s no getting away from it, a new Marillion album is always a great occasion and a cause for celebration but the release of ‘An Hour Before It’s Dark’ coincides with us hopefully seeing the pandemic diminishing rapidly and a sense of normality returning to everyday life and mirrors this new found feeling of optimism and promise.

I’d been one of the lucky ones who saw the band on their ‘Light At The End Of The Tunnel’ tour (in fact, I saw them on at the first gig in Hull) so my appetite had been whetted by already hearing the wonderfully dramatic Be Hard On Yourself, albeit in a live setting. Nine minutes of intense but fast paced music with Steve Hogarth’s distinctive vocals at the centre of this impressive track, it certainly opens the album in style. Reprogram The Gene delivers a powerful missive with the hard edged guitar and drums driving the song along, aided and abetted by a sharp suited bassline and keyboards. Steve Rothery has been given free reign to deliver some mighty power chords and Ian Mosley delivers an utterly mesmerising performance behind the drum kit. There’s a determined and catchy feel to this song and it resonates throughout the album as the short, sweet instrumental, Only A Kiss segues into the second single from the album, the irrepressibly infectious Murder Machines, a song that was born in the challenging times of lockdown and social distancing and has become so much more than just a mirror of our times, more than a song that deals with the precious as well as dark sides of human relationships. Steve Hogarth is in fine voice, especially on the buoyant chorus and Rothery’s guitar just sings perfectly.

Three songs into the album and I’m already hooked, it’s a record of, and for, its time, emotive and emotional and that is felt throughout the wistfully brilliant The Crow And The Nightingale, a nostalgic nod to Leonard Cohen and one of my favourite tracks on the album, one that just flows beautifully and shows the band’s thoughtful and contemplative side impeccably. That reflective tone carries on into the sublime Sierra Leone, another great song that sees the band in a storytelling frame of mind. This is a set of musicians who are playing at a ridiculously high level and delivering some of their best songs of a long and illustrious career, a band who are comfortable with themselves and their music and it is really obvious. This track builds gradually, the tempo increasing almost imperceptibly, before Rothery’s guitar breaks out, accompanied by Hogarth’s ever more dynamic voice. There are lulls as it ebbs and flows elegantly, always holding your attention, a fine piece of music indeed.

This superb and entrancing album comes to a close with one of Marillion’s finest ever tracks. In a long career of superlatives Care has to be right there at the top, a three part song that plumbs the depths of despair before rising through to end in promise and optimism. Pete Trewavas shows he is still one of the best bass players around and Rothery’s guitar is just transcendent, he really is at the top of his game. Mark Kelly delivers some bewitching keys throughout the album but none more so than here. This track really showcases the band’s impressive song writing abilities. Impassioned and passionate and, ultimately, uplifting, it is, possibly, the most perfect song they have ever written.

I have been a fan of Marillion for over three decades and, in a career of superlatives, ‘An Hour Before It’s Dark’ can truly be seen as one of their most accomplished albums. It is an outstanding piece of music that the band should be incredibly proud of and, even though we are only in February, it will take something amazing to knock it off the top of my album of the year list.

Released March 4th, 2022

Order from the band here:

Marillion Album 20 Official Pre-order Store (ear-music.net)

Review – PsychoYogi – Digital Vagrancy – by John Wenlock-Smith

For those who don’t know, PsychoYogi are a jazz fusion / progressive rock band led by the incredibly talented Chris Ramsing who plays guitar, writes the songs and also sings them! Chris is clearly influenced by the likes of Frank Zappa and many other left-field musicians. He is a very skilled player and uses the band’s musicality to express his thought and viewpoints. The music can be a bit cerebral and clever and can take a while to get into as it requires the listener’s effort too, what can seem to be a bit obscure will eventually begin to feel familiar and friendly, if you are prepared to make the investment of time and effort.

PsychoYogi have joined the roster of artists that appear under the Bad Elephant Music label banner, which is a good home for them and should expose them to a far wider audience. Their talents should begin to get the recognition that they deserve, after several years of self-released albums like ‘Accident Prone’, ‘Consumption Wheel’ and ‘Chase the Bone’, along with last year’s ‘Dangerous Devices’.

The latter was a good template for this new album ‘Digital Vagrancy’, a release on which, you will be glad to hear, the band’s normal wackiness and weirdness continues unabated, which, in the madness of this present age, is certainly both a boon and a relief and is very welcome. This is music to challenge and to experience for yourself, in amongst the weird time signatures lurks a good sense of both humour and of the absurd. This is clearly shown on tracks like Wonderful Place with its strong bass lines and with Chris’s fluid guitar taking centre stage, its freewheeling form scoring highly. There is also a deft lightness of touch to many of these tracks which shows how well the band are gelling as a unit these days, brass, horns, bass and guitars are drawn together, all underpinned by the bass of Izzy Stylish and the drums of Justin Casey.

The album opens with Guiding Light, all gentle noodling from Chris along with good syncopation from Justin’s drums, which splash gently across the muted tones of the sax of Toby Nowell. This is all very eloquently overseen by all concerned with a strong jazz fusion leaning and a jaunty tone, yet it’s still accessible listening and not just for jazz buffs. A Dangerous Path opens with some horn interplay, which sets the scene well for the languid jazzy rhythms at play. Here the music and vocals actually put me in mind of Greenslade for some odd reason but, if so, that’s a good comparison to have really, as they are nothing like each other at all but the mind is a strange thing at times and I guess years of stored music came to the surface there.

The River follows and has prominent bass to open followed by eloquent sax. Again, this mellow song works well hinged on bass and delicate drums with guitar chords at play and a brief jazzy guitar break from Chris really hits the mark. Wonderful Place is up next and opens with a long, fluid guitar line laid over busy drums and more of those strong bass lines. Shimmering guitar chords play over the track and are joined by more sax lines, add in an almost ethnic sounding percussion segment and it becomes very jazzy. This is sublime and superb at the same time, an enjoyable track with lots happening in its three-minute window.

Distant Bell follows with more delicate guitar lines and subtle bass lines, the horn and sax parts helping this sound really swing. This album gets better the more you play it and you begin to realise just what a joyfully crafted it really is as well as being imaginative and boldly creative. Everyone gets a chance to shine, and they all do throughout this fine track. Next Track Salvation has a smoky sounding opening, murky and effective sounding, before the vocals start. The song is all about faith and belief and the entire system of such things, it’s an interesting song that asks a lot questions land leaves you to your own conclusions.

Love and Sanity is about the lack of compassion in today’s world, how we are worse for its lack in society, and how we all avoid it as individuals today. It’s an honest, challenging and sobering song at times. Much to Dream About follows and is another questioning song about how yesterday’s dreams have gone and how those dreams have been replaced with negativity, fear and loathing with everybody affected by this change. This is social commentary about the world today and how it has not gotten better but has taken a step or more in the wrong direction.

Innocence for Fear is the last vocal track on the album and offers the observation that we exchange ‘Innocence for Fear’ in this modern age and that we all suffer as a result. Chris is quite forthright in his observations and questioning and why not , these things should be spoken of far more than the subservience and blind obedience that is expected of us these days!

It’s good that albums like this can offer a platform for such views to be considered and, as such, this is an important album and one that is worthy of consideration with its excellent musicianship and challenging lyrics and themes. This music could be described as left-field punk-jazz and I think that is pretty accurate.

Released 29th October, 2021

Order from Bad Elephant Music on bandcamp here:

Digital Vagrancy | PsychoYogi (bandcamp.com)

Review – Steve Gibbons Band: Rollin’ – The Albums – 1976-1978′ – by John Wenlock-Smith

Growing up as I did in Birmingham in the 1970s, I balanced my musical tastes between the hard rock and progressive music and held at bay the encroachment of the punk and new wave genres. It’s odd really, as there were some genuinely interesting things that were going on in that scene like Eddie and The Hot Rods and Racing Cars, to name just two, where energy and talent met head on.

A vast majority of these trod the boards of the stages of either the Birmingham Odeon or the Town Hall. One of the regular visitors being the Steve Gibbons Band, who were local lads who had landed the attention of record label Polydor. They were a band I was aware of but had no relevant knowledge about, neither of them or their music which, in hindsight, was to my detriment as their sound style and influences were so far removed from punk or new wave and being far more R &B or americana in style.

Well, my chance to remedy this issue came by means of this excellent new Polydor box set serving that era and issued by those good people at Cherry Red. This collection includes their entire output for the label of four albums (3 studio and 1 live album) along with a further BBC ‘Live in Concert’ to offer a comprehensive overview of their career. All alongside an informative booklet from the late Malcolm Dome.

I always like a live album as they often portray the more muscular live sound and allow for songs to be stretched out with some improvisation, where appropriate. On this score ‘Caught in the Act’ is a fine document of their live sound, capturing them in various settings, although the actual recording locations and information is not that clear. What the sound reminds me of is a far more organic version of Wishbone Ash as the two guitarists have a similar interplay and dynamic.

Also worthy of note is their debut album, especially the songs Rollin’ and Spark Of Love, both of which pack a punch and show what they were capable of to favourable effect. In addition, this underpins the Wishbone Ash comments, although I can also hear elements of bands like The Allman Brothers, such is the subtle musical interplay in the band.

The set also contains a further live album recording for the BBC from 1977, at the Shepherds Bush Empire, that captures the band in fine form once more and touring in support of their ‘Down In The Bunker’ album.

Steve Gibbons is a fine singer and also a good writer of songs, mostly that tell a story, especially as evidenced on the two live sets and tracks like Mr Jones and in Tupelo Mississippi Flash, about a hick town guitar player, when played live, these songs get time to gel fully and effectively.

I must say that time has treated these albums well and the remastering is beautifully done, giving the sound clarity and wallop where needed. In fact, I am really wondering quite why I never actually listened to these before and, as such, have really missed supporting these local lads when I had the chance, hindsight is a wonderful thing I guess?

Of the three studio albums, I think the first, ‘Any Road Up’, is possibly the best, as it is a band on the cusp of success and all their years of effort are starting to pay off. The album is relatively short though but it has power in the potential it offers, all of which was to find realisation on their second album ‘Rollin On” from 1977. The band were right in the midst of the onslaught of punk and yet still managed to deliver a fine sophomore album including its top 40 single Tulane and other such strong songs as Mr Jones, Tupelo Mississippi Flash and the acapella Right Side Of Heaven that segues brilliantly into Rollin On’. This album is further enhanced by 5 bonus tracks, including 2 songs from a session for John Peel, a man who knew good music when he heard it. Tulane was a big hit for the Steve Gibbons Band and it appears on this set four times in both studio, live and session takes and it’s always a worthy song to hear.

The final studio album, ‘Down In The Bunker’ was produced by Tony Visconti, of David Bowie and Thin Lizzy fame, and packs a good punch too. The album has eight bonus tracks to round it out, although details are scant about these.

What this set offers is a full overview of the band’s years as part of the Polydor label. The band continue today, albeit in a far simpler manner away from major label pressures and hassles, but this set offers a look into their legacy and history and shows them to be a band that Birmingham should be proud, of even today.

Released 7th January, 2022

Order from Cherry Red Records here:

Steve Gibbons Band: Rollin’ – The Albums 1976-1978, 5CD Remastered & Expanded Box Set – Cherry Red Records

Review – Kalle Wallner – Voices

It’s a known scenario. One sits in their own studio in the lockdown and tinkers with ideas but has the mild impression of gradually losing it. After twenty years of full throttle, you’re feeling run down, yet the head is still racing. Well, it’s a known scenario if your name is Kalle Wallner at least. To take a break, however, that has never been an option. So the ideas, fragments and motifs piled up and on an indeterminate evening he took a step back and had to accept the fact that he had an instrumental album on his hands. That’s pretty much how ‘Voices’ came about, the now fourth solo album by the busy musician from Freising/Bavaria, perhaps better known as the guitarist in the perennial prog band RPWL.

Pragmatically numbered serially, the album is mainly an instrumental where the individual tracks are always related to and intertwined with each other. The one track out of the seven that contains vocals being Three, where Arno Menses of Subsignal lends his cultured vocal to proceedings.

Opulence has always been an integral part of Wallner’s solo work and that is ramped up to the max on this excellent work, thunderous riffing being another and that is present and correct in spades! There’s an energy infused in every note on the album, starting with the high-tempo momentum of One with Yogi’ Lang’s delicious keyboards lending some gravitas to Kalle’s powerful, monolithic sounding guitars. What you always get with this superb musician is tons of melody though, the often riotous and dynamic guitars giving every note an edge but a very tuneful one. Two is another plethora of monstrous riffs that combines with Marco Minnemann’s mighty drumming to deliver an all-encompassing, forceful track that has a definite thoughtful underbelly at times. The calming sections where Kalle’s guitar takes things back a notch are a touch of genius and lay a veil of refinement over things.

As already mentioned, Three is the one and only vocal track on the album but it opens with a stirring guitar from Kalle over Marco’s potent drumbeat. Arno Menses has a voice just made for tracks like this and he puts in a stellar performance on this pensive, slow burning song, especially on the electrifying chorus, it’s the emotionally intense guitar playing that is the highlight though. There’s a funky note to the opening of Four that gives it a vibe not unlike Faith No More, all staccato notes, fat grooves and a restless drumbeat. Kalle’s piercing guitar lends a contrast to that alt-metal feel, the guitar solo towards the end is inspired, it’s a clever and inventive piece of music.

Five basically sees all the musicians turn things up to 11 and is an incendiary four minutes of compelling and authoritative music where everyone just seems to be having an utter blast! I really like Six, Kalle Wallner has always been an excellent musician and songwriter but, here on ‘Voices’, he really seems to have gone up another level. The songwriting is superlative and his guitar playing just gets better and better. This piece of music is reflective and contemplative while also having the satisfyingly punchy foundation of guitar and drums when things start to get serious.

Seven.Out is a thoughtful almost melancholy eleven minutes of wistful serenity and closes ‘Voices’ perfectly. The most intimate and heartfelt piece of music on the album, Kalle gets to show his more softer and sensitive side on this track with piercing, fervent guitar lines that really touch your heart and soul. There’s a sombre and plaintive edge to his guitar work and the meditative drumbeat mirrors this, it really leaves you in a reflective and thoughtful mood as this exemplary record comes to a close.

‘Voices’ is fifty minutes of utterly immersive music that really gets under your skin, there is an immediate need to listen to this bewitching album again. At times mesmerising and at others thunderously magnetic, I’d say it’s possibly this enigmatic musician’s finest piece of work in his twenty-six year career, it really is that good!

Released 25th February, 2022

Order from Gentle Art Of Music here:

Aktuelle Releases | Gentle Art of Music

Review – Jonas Lindberg & The Other Side – Miles From Nowhere

Originally feted for release in November 2021, the second full length release from the Swedish Prog Rock project Jonas Lindbergh & The Other Side is now being released by InsideOut on February 18th.

This album has been in my possession for a very long time now so I have time to really get into it at every level and I feel I have really got to know it like a friend so feel eminently qualified to write this review. First, however, some history…

This Progressive rock project from Stockholm, Sweden was founded in 2012 by bass player, songwriter and producer Jonas Lindberg.

It all originates back to 2008 when the EP ‘In Secret Pace’ was recorded as an exam-project at the Music Academy in Piteå, Sweden. But, as term, ended Jonas moved to Stockholm to pursue a career as a freelance musician and the idea got put on hold. In 2012 ‘In Secret Pace’ was finally released on digital platforms as Jonas started to work on new material.

This time the lineup featured a 5 piece band and the second EP ‘The Other Side’ was finished and released in 2013. The project was named Jonas Lindberg & The Other Side from the title track of the album after its release. Jonas contributes bass, backing vocals, keyboards and guitars, Jonas Sundqvist (lead vocals), Jonathan Lundberg (drums), Calle Stålenbring (guitars) and Michael Ottosson (keyboards). Two more musicians, Nicklas Thelin (guitar) and Jenny Storm (vocal) later joined for the live shows.

In 2015 the band began working on their first full length album and released “Pathfinder” in 2016 to great reviews. Jonas immediately began writing new material in the following months. But due to heavy touring with lots of other commitments the project got put on hold until 2019, when the band finally started recording a follow-up album.

The new album features the same lineup as on previous albums along with a few more guest musicians. Returning on a few tracks is Simon Wilhelmsson (drums) who some may remember from the first EP, as well as Jonas’s brother Joel and Roine Stolt on lead guitars. Missing is the band’s keyboard player Michael Ottosson who sadly passed away in the summer of 2020, leading up to Jonas taking on full keyboard duties for the album.

So now you know the history of the band, let me tell you why you just have to buy this album…

‘Miles From Nowhere’ is one of those albums that just puts a huge smile on your face, there’s symphonic prog in the vein of Spock’s Beard, Transatlantic and The Flower Kings in absolute spades but it is all grounded on some seriously good hard rock foundations with guitars that Richie Sambora would be proud of and keyboards that just ooze quality like John Lord at his absolute best. It is a triumph of pomp and circumstance, overblown and bloody brilliant!

Staccato guitars open the seriously catchy Secret Motive Man and you first hear the elegant vocals of Jonas Sundqvist. A funky, folky song about a man who’s intentions aren’t entirely clear, odd time signatures combine with some seriously good drumming and harmonised vocals to die for. As opening album tracks go, this one is of the highest quality and the keyboards and guitars work beautifully in tandem. Short (in prog rock terms) but very sweet, Little Man is a refined slice of music with a rarefied air as it begins but it soon opens up with Jonas’ soaring vocal (harmonised to perfection, naturally) on the chorus and the tastefully strummed guitar just adds to the feel. There’s a brief lull punctuated by keyboards before the guitar rises up in a stunning 80’s hair metal solo that just blows you away, a fantastic track.

The second longest piece on the album, Summer Queen is an epic based on the four seasons, originally written in 2003 by classmates Jonas Lindberg and Joakim Wiklund. This song is an exciting thrill ride of peaks and troughs that never lets up and is graced by the wonderful lead vocals of Jenny Storm. A slow burning opening never hints at the headlong rush to come as Jenny’s ethereal voice is first heard, it’s jaunty and wistful but the energy is building up, bursting to get out and the fantastic keys finally let loose with vibrancy and intensity. What follows is pure brilliance, a song that leads you on a mysterious, primeval journey through nature with ardent guitars and mesmerising keyboards leading the dance. Oceans Of Time has an almost medieval feel to the opening keyboard strains before the music bursts out in a torrent of keyboards, drums and thunderous guitars. This compelling and potent track is highlighted by stunning guitar solos from Calle Stålenbring, which punctuate it with moments of pure intensity, and keyboards that just seem to have a life of their own. It’s a track about an ending of a relationship in the form of a ship on a stormy ocean and you feel drawn into the story as if you’re really there.

The simple, rarefied opening notes of Astral Journey lend a polished aura to the song, a relatively concise instrumental which is almost like a moment in calm after the marvellous maelstrom of the previous tracks. Restless, skittish keyboards then take over, aided and abetted by an edgy, restive guitar before the two blend together seamlessly to bring things to a close. Why I’m Here is the closest we get to mainstream track on the album and is a short progressive song in 7/8 time about stalking, sung by Lindberg. This song features lead guitar from Jonas’s brother Joel and its jaunty feel belies the subject nature. Fast paced and sprightly, it passes by in no time at all, leaving a wry smile on your face and has another blinding guitar solo that leaves you slack jawed in admiration.

While the first six tracks are exceptional in their own right, they lead us up to the utterly amazing final, title track. A twenty-five minute epic of such utter majesty, full of intricate instrumental progressive pieces in odd time signatures, intense rock in the style of Deep Purple, fusion inspired choruses, insane guitar solos and vocals that just have to be heard to be believed. The first near-seven minutes is an instrumental section where it seems everyone has just been told to go and enjoy themselves and just deliver some exceptional and impassioned music and, boy, do they ever! Part two sees Jonas Sundqvist’s voice centre stage and is more melodic, almost Beatles-esque section, more subtle, with some elegant guitar playing from Nicklas Thelin which adds to the more cultured mood. Not had enough harder edged rock for your money? Well hold on to your hats, part three sees us off and running with John Lord smiling over us as the keys provide the backdrop to some ridiculously good guitar playing (Calle Stålenbring take a bow please) and amazingly harmonised choruses. Lindberg himself steps forward to deliver an emotionally strung ballad, A sort of reflection upon what has happened lately in life, in part four and plays all the instruments, supported by Maria Olsson on percussion. The final course is to come and you are not left wanting, overtures, majestic anthems, memorable melodies and hooks abound everywhere. The build up to the finale leaves you bursting with anticipation, it’s done so well and then Jonas’ delivers his final coup de grace and probably the vocal performance of his life, the hairs stand up on the back of your neck, it is really that good! Then, just when you think things surely can’t get any better, you are treated to an epic guitar solo from the ‘Flower King’ himself, Mr. Roine Stolt and the song just goes orbital. Holy cow! what a bloody fantastic and amazing finish, I’m left mentally exhausted and spent as what has been one of the best musical experiences I’ve ever had comes to a satisfying close.

I have listened to this album so many times that I have actually lost count, it is the best example of symphonic progressive rock you are likely to hear in a very long time. I like it that much I have ordered the vinyl and the best compliment I can give is to say that, while I am not a musician and never will be, if I could have only ever made one album, I really wish it could have been this!

Released 18th February, 2022

Order from Burning Shed here:

https://burningshed.com/jonas-lindberg-and-the-other-side_miles-from-nowhere_cd?filter_name=Jonas&filter_sub_category=true


InsideOutMusic announce signing of Russian progressive rockers VELCROCRANES

InsideOutMusic are pleased to announce the signing of Russian progressive rock newcomers Velcrocranes. The band’s debut album ‘What If I Die’ will be released on the 29th April 2022 via their new label home. Watch a teaser here:

Started out as a small jazz ensemble created originally for practice, it wasn’t until they discovered the music of Porcupine Tree and the malleable world of progressive rock that their true sound came into focus. This new, expansive direction was the future of Velcrocranes. 

In 2017, the band would begin playing live shows for fans in their local music scene, which, at that time, still largely consisted of covers – mixed in with new material that the group was diligently working on. In 2018, the band release d their debut EP, ‘Afterlife’, which featured the songs “Hold Your Breath” & “Afterlife”. The tracks would bring the stirring and ethereal vocals of Efim Kolitinov into the forefront, as well as the harmonious guitar leads of Liza Kotova, who serves as a primary songwriter for the group, and the intricate arrangements from Alexander Papsuev.  

On their debut full-length, ‘What If I Die’, Velcrocranes remain true to the foundation that they’ve carefully laid in recent years – while showing little restraint for reaching into the bag of tricks to delight their listeners. Speaking about the creative drive behind the themes explored on the LP, the band says, “We imagine the main idea of the album as changing as the listener goes along. Our goal was to draw a parallel to the way your understanding of life’s meaning, your values and choices, and your perception of death change during your lifetime.” The debut album also features keyboard contributions throughout from Adam Holzman (Miles Davis & Steven Wilson): “We’d been trying a lot of different options until at some point we got desperate enough to take a chance and write to Adam … which was totally worth it because he just hit the spot! He managed to keep our original ideas, embellish them and beautifully highlight the genre features.” 

The artwork for the band’s forthcoming debut was created by Carl Glover of Aleph Studio, known for his work with Steven Wilson, Frost*, Marillion & more. The band comment: “The idea behind the cover artwork is as simple as it is effective. It seems to emphasize the focus on the intellectual and metaphorical vs concrete and corporeal – this, together with the minimalistic color scheme, blends in just perfectly and echoes the music.”

‘What If I Die’ will be released as Limited CD (with bonus track), Vinyl LP + CD & as Digital Album. Pre-orders will begin on the 25th February.

Velcrocranes are:

Efim Kolitinov – vocals

Liza Kotova – guitars, backing vocals 

Alexander Papsuev – guitars, keyboards 

Nikita Sarukhanov – drums, percussion

Bogdan Defo – bass

Jo Beth Young to Release First Single ‘BRIGID’ on February 4th 2022, From Upcoming Album ‘Broken Spells’

Ethereal, Indie-folk musician Jo Beth Young (fka Talitha Rise) announces the release of Electro-Folk single BRIGID, the first song from her new album Broken Spells’ The track is a distinctive departure from her previous work, infusing a more upbeat, electronic landscape bringing home to  February, inspired by the Celtic Goddess BRIGID.  

A taster of what changes and atmospheres may be to come in her first album under her own name, to be released later in 2022.

Jo Beth Says:  

“I wrote and created Brigid very late at night on IMBOLC eve itself last year (St. Brigid’s festival on February 1st). I had been working on the new album for some months and hit a real wall in inspiration, especially production wise. For some reason that night, and maybe it was because of it being Imbolc itself, I felt a new energy and started experimenting with loops and beats, something I’d never attempted before. Content wise, It’s as close to a love song as I might ever write and is about finally breaking through and getting out of dark time or rut or finally uniting or reuniting with someone or something that you feel deeply connected to on soul level. Imbolc is when Persephone is said to come out of the underworld and bring spring to the earth each year. Part of Brigid’s folklore is that she will knock on the door three times that night and if you let her in you let healing and the spring into your life also. It felt very apt and after all of us have been through such a strange time on the planet, it felt like an omen of hope and that there really may be something to look forward to!“

The track features Devon based Cellist Ben Roberts (Abrasive Trees, Evi Vine), beat maker and producer Matt Blackie, and her co-collaborater John Reed from the NIGHTSONG project on lap steel. All the parts were recorded at a distance between the UK and the cottage Jo was living in at the time in the West of Ireland.  

Her new album BROKEN SPELLS will be out later this year, the release date of which is not yet confirmed, but there is much more to come from the album yet!  
DIGITAL DELUXE RELEASE 

The single will be available on all major streaming platforms but will also include a  Deluxe release on her music glue website as a Digital Deluxe version on MP3 and WAV format. 

Jo Beth’s new album Broken Spells will be the first official release under her own name and not under her previous stage names of Talitha Rise and RISE . It features members of her touring band ‘The Abandoned Orchestra’ as well as long term collaborator Peter Yates (Fields Of The Nephillim). Recorded and Produced between England, Ireland and Spain, the album is a thematic exploration of ‘spells’ breaking from both the personal and collective point of view. She has been working on the record since she finished touring her last album STRANGERS in 2019. Interestingly, and perhaps spookily, during recent times, and after having named the new album, Jo Beth found out she was the descendant of Isobell Young  –  a Scottish woman who was accused, persecuted and executed for witch craft in the 1600’s. With the upcoming pardon of Scottish witches on the horizon, Jo Beth has recently been interviewed by publications such as The Sunday Times and Daily Mail on the subject and her feelings on creativity, healing and the end of persecution for women in particular.  

Tracks from the new album will appear on upcoming film The Clear which is currently being produced in the UK.  

Review – Retreat From Moscow – The World As We Knew It

Retreat from Moscow originally hail from Cardiff, Wales, UK and gigged extensively from 1979- 1981. Fast forward 40 years and the band of core members, Andrew Raymond (keyboards and more), Greg Haver (drums and more), Tony Lewis (bass and more) and John Harris (vocals and more) reformed in 2019 to start recording old and new material for a new album, ‘The World As We Knew It‘.

The roots of their music is influenced by the progressive giants of the 70s but their sound nods more to the 80s new wave of progressive music with strong melody, big keyboards and choruses, and soaring vocals.

“It is somewhat ironic that after releasing our first single in 1980, Retreat From Moscow have waited forty years to produce an album only to have the proposed launch postponed by a worldwide pandemic.” says guitarist, John ‘Harpo’ Harris. “Yet from those early, heady days at school listening to bands like Genesis, Tull, King Crimson, Camel and Caravan, even though the journey has been a long one, it has been worth the wait.”

2022 has started with some very good album releases and Retreat From Moscow have joined that heady mix with what must be considered as one of the best recent debut albums. There are nods to the progressive greats and to the heights of Neo-Prog in the late 80’s and early 90’s but, throughout this impressive release, the band resolutely follow their own direction.

There’s power, poise, precision and subtlety throughout. ‘The World As We Knew It’ may be forty years in the making but it impresses at every turn. Opening track The One You Left Behind prowls along with a menacing atmosphere, the dynamic rhythm section and hard edged guitars driving the song along and John Harris’ dynamic vocal providing the focal point. Radiation is fleet of foot and a genuinely feel good hard rock romp with a proper feel of nostalgia, the guitar work from Harris is just sublime. The wick is turned down a bit on the delightful neo-prog infused Henrietta, invoking Fish era Marillion but with the band’s own signature sound front and centre. Andrew Raymond’s silky keyboards are all over this elegant song and just add to the good natured mood that this record engenders.

Raymond’s skill is central to the opening of the vibrantly upbeat I’m Alive that screams 70’s prog at you at full volume. I honestly feel that anyone who has great progressive rock in their blood will absolutely love this album, the songwriting and musicianship are just top notch! Constantinople brings an oasis of calm and sophistication to the album. The vocals are restrained and the music, especially the beautiful flute and passionate guitar, sophisticated. The longest track on the album, coming in at over eleven minutes, Home, tells you all you need to know about this accomplished band. Their songwriting is excellent and their skill even better, a sublime listening experience that envelops the listener and draws them in to their expertly crafted musical world. Not a note is wasted and every song is an utterly absorbing experience. That hard rock edge returns to Armed Combat, moving away from the more progressive arena to deliver a track that wouldn’t be out of place on any 80’s rock album. It may just be me but the bass, drums and keys just shout Level 42 and I just love it! anyone else?

A gently meandering piece of music, Moving Down is wistfully serene and a pure gem. One of the best songs on the album, the thoughtful vocals and reflective music are just wonderful and just check out that guitar solo, it’s just heavenly. Perception is another fast moving track with a definitive hard rock edge that this outstanding band do so very well. Guitar, drums, bass and keys all work in perfect harmony to give John’s vocal a perfect backdrop to work on. Have 70’s Genesis arrived in the building as the first notes of Mandragora echo in your speakers? You’d be excused for thinking so as this exceptional track ebbs and flows, yet another song where Retreat From Moscow give their own unique slant on what has gone before. All good things must unfortunately come to an end and the album comes to a close with the elegant composure of Don’t Look Back. A slow burning opening with more of that exquisite flute and impassioned vocals gives a restrained tone to the song, everything tranquil and peaceful. The tempo increases though and the song opens up into something impressively fluid and mercurial, Andrew Raymond’s keyboard solo adding another layer of class before the guitar joins in to add fervour and passion, it’s a glorious ending to the album.

Robin Armstrong’s Gravity Dream Label has accrued a pretty impressive roster in a short period of time and the outstanding Retreat From Moscow are another high calibre artist to join him. In ‘The World As We Knew It’ they have crafted an album that is creative, inventive and inspirational, it is a breathtaking debut that will grace many end of the year ‘best of’ lists and one that the band should be rightfully very proud of.

Released 21st January, 2022

Order from bandcamp here:

The World As We Knew It | Retreat From Moscow (bandcamp.com)

Review – TDW – Fountains

An album made by the fans, for the fans. That’s how you could describe this new TDW album in a simple way, but that wouldn’t tell the whole story, as the eighth TDW album entitled ‘Fountains’ has become something unexpected indeed.

Spurred on by an all too familiar worldwide pandemic and an urge to keep moving forward after releasing the well-received album ‘The Days The Clock Stopped’ in December of 2020, main songwriter Tom De Wit took the possibility to quickly write new material that would become this very record. Written, recorded and produced in a record tempo for Tom’s standards, but also fuelled by a very special ingredient… Song input from the fans who preordered the last album and helped to make it all possible!

Multiple songs on this new offering are based on suggestions given by TDW fans in 2020 when they preordered ‘The days…’. Tom told the fans that if they gave him a subject and basic idea, he would write a song based on those ideas and 6 songs on this album came to be based on these very concepts. Added to this were 4 songs written by Tom that all formed a loose theme tying everything together.

When asked about the theme of the album, Tom described it as follows:

“This album has a few themes that form its framework. We have been through the wringer as creators & mankind in general, so I made songs about staying hopeful even when life beats you down, understanding the human value of real art over just blindly staring at sales numbers and marketing and more. My life has been a constant, crusade against hollow art made for profit only.

The highest goal for me is to make something that invokes a real response. I think this represents that to the fullest. People often get sidetracked by the business side of things, but at the end of the day it’s our creative fountain that keeps us going. Yes, you have to take your career seriously, yes you have to think of these things, but for me the music and the creative adventure ALWAYS comes first.”

‘Fountains’ is something of a departure for Tom, while still most definitely a progressive metal record. It has a lighter touch and more left-field influences that give it a real upbeat and fresh feel but, as you will always find with musicians like Tom, the songwriting comes first and this album is chock full of what the youth call ‘bangers’!

From the powerful opening notes of title track Fountains the intent is obvious but every aggressive guitar line is wrapped in the talented songwriting skills of Tom De Wit who brings a subtlety not often seen on albums of this genre. The staccato electronics and fast paced speed metal infused rhythm of Inner Enemy contrasts perfectly with the subtlety of the much more dulcet tones of Hope Song I and its feel-good factor. The potency of Gratitude Song is tempered by the fine vocals and excellent chorus and I am a big fan of Hunter’s Eyes, one of Tom’s best compositions, the inclusion of the flute paying in tandem with the hard edged guitar as the song opens is just genius! This is progressive metal for the thinking man and I really get the feel that Tom and his fellow musicians had a blast recording this album.

The brooding Anthracite has an aura of latent power and barely hidden menace about it. A calm exterior that hides something much more primeval and is another highlight of this ever impressive release. We return to the progressive metal arena again with the driving intensity of Another Choice, Another Universe and it suddenly hits me that we have got over halfway through the album and there’s barely a hint of the growling vocal that this genre is so well known for and, for this reviewer, its absence is a boon and not a hindrance. Thing go completely out of the door with the insane shenanigans of Graveyard Boogie, a track that wouldn’t be amiss on something like ‘The Rocky Horror Show’, it is ghoulishly brilliant! Traveller is imbued with potency, a hard edged offering that ventures into heavy metal territory without ever forgetting its roots in the progressive side of things. Things come to close with the epic Hope Song II which is a thunderous romp that barely pauses for breath, taking you on a spirited and potent journey through all that is good about this band.

‘Fountains’ delivers on every level, a brilliant collection of songs that engages the listener and immerses them in TDW’s rather intriguing world. As a creative force in the progressive metal arena, there aren’t many who exist at the same level as Tom De Wit and that is evident in every note of this captivating and absorbing release.

Released 26th November, 2021

Order from bandcamp here:

Fountains | TDW (bandcamp.com)

Review – Nordic Giants – Symbiosis

“Following on from the success of their debut album – ‘A Sèance of Dark Delusions’ and their documentary / soundtrack project – ‘Amplify Human Vibration’, the mysterious Nordic Giants emerge from hiding with their second studio album simply entitled – ‘Symbiosis’ set for release on 4th February 2022.

Symbiosis represents the interdependent relationship of all life. The union and blending of polar opposites, the harmony created when two different elements combine, not just in nature or in a philosophical sense, but at the root creative level.“

Rôka and Löki state, 

“We start with a pure idea, we take all the emotions that live inside us,  that are buried deep within the sub-consciousness mind and give them the opportunity to shine through in musical form. Much like our first album – Symbiosis is a multi-layered album, It’s going to be hard to understand the depth of emotion, or spirit of the album on the first listen or even the second. But hopefully even on the 100th listen there may still be new layers revealing themselves to you.”

I do like it when the PR information about a new album really whets your appetite and builds the anticipation of its release. I am a huge fan of Nordic Giants so, after first reading the above, I really couldn’t wait to get my hands on ‘Symbiosis’ and to hear what the mysterious duo had in store for us.

I needn’t have worried, this new release is an absolute stunner, the band’s signature journey into the light and dark, the ambient and the powerful and the ethereal and the earthly is present and correct but subtly different. There is beauty and and almost extraneous feel to the album and it takes this enigmatic duo to another level of brilliance. The music flows around you, taking on a life of its own as it infuses your very being with an otherworldly touch and delivers an almost ‘out of body’ experience.

There is nothing quite like Nordic Giants, their unique take on music encompassing a broad tapestry of weird and wonderful sounds, from vintage analogue synths, Tibetan bowls and even a Carnyx horn. The haunting vocals of Freyja and Alex Hedley adding a haunting grace and ghostly refinement to the tracks Spheres and Faceless respectively, ‘Symbiosis’ is, however, a predominantly multi-layered instrumental album.

The stand out tracks are the exquisitely divine Hjem and gloriously resplendent calm of Spires of Ascendancy, two pieces of music that will take your breath away with their simple brilliance. Opener Philosophy of Mind harks back to the power of ‘Amplify Human Vibration’, Anamorphia has a strident and headstrong confidence at its core, Convergence is a confident trip into a subtle and refined electronica and Infinity closes the album perfectly, opening with moments of languid, laid back grace and ending with a powerful and compelling dignity .

There are hidden depths to this album and it is one that requires multiple listens to discover all of its passion and emotion, its spirit and its essence. 2022 is going to be a vintage year for excellent music and ‘Symbiosis’ will be right there at the top of the list come the end of the year. Nordic Giants plough their own determined furrow and just get better and better with every release.

Released 4th February, 2022.

Order the album from here:

STORE | Nordic Giants