Tag: Progradar

John Wenlock-Smith Interviews Steve Hackett

Photo by Tina Korhonen, all rights reserved

It is always a pleasure to spend time talking with Steve Hackett, he is such a gracious interviewee and always has interesting things to say and learn from. This interview is about his new album ‘Surrender Of Silence’ and his forthcoming tour celebrating the album ‘Seconds Out’ recorded whilst Steve was still a member of Genesis. This tour will see the album played in its entirety along with selected tracks from both his new album and from his extensive back catalogue of releases.

John Wenlock-Smith: So how are you sir?

Steve Hackett: Oh I’m alright, fine, how are you doing?

JWS: Yes, we’re ok generally, keeping alright with all this lockdown and stuff.

SH: Well it’s been an unusual time, an extraordinary time really. We’re just about to go out on the road with a tour, having not played a show (well, not properly) for about 18 months. Apart from the odd virtual thing over the airwaves, I’ve done a bit of that and I’m doing one tomorrow with the Hungarians, I haven’t done a live gig in front of an audience for a very long time.

JWS: I’ll bet you’re looking forward to that then?

SH: Well I am, yes. Once we get through rehearsals and everyone knows it, those rehearsals start on Monday.

JWS: You have a new album out soon too?

SH: Yes, ‘Surrender of Silence’ is the new album, the second one this year after ‘Under A Mediterranean Sky’, and it’s completely different to any other one, I really enjoyed making it.

JWS: I’ve heard the album and I like it, it’s very different.

SH: Yes, it’s different in places to what I’ve done before, I don’t think I’ve ever done an African themed song before, after our visit to Ethiopia. I’ve never done a Russian themed song either, They are journeys that became songs, having visited these places and, of course, a good deal of the influence comes to bear on some of the album.

One of the tracks, Shanghai to Samarkand, had the idea of trying to cover the whole of the east in a song with the odd instrument like the Vietnamese Dan Tranh (Zither), related to the Japanese Kyoto, and getting players to play in an oriental style. We got Christine Townsend to play her viola solo with those long bending, sighing notes at the end of phrases, I very much enjoyed that.

I enjoy the virtual travel that’s possible with music, although I am missing the real-world travel too, but that’s all about to change as we get out there again, visiting the British isles in the coming months.

JWS: Is it true that you are getting all over the place, you’re even playing in Stoke-On-Trent?

SH: Yes, I’ve got all the dates here, that’s on the 12th of September, I’m looking forward to that one. It’ll be good to play some places we’ve not been to in a while, it will be good to go anywhere and see anybody!  

It’s strange, lots of people have got tickets and we hope they all make the effort to come, but we can’t force people to come, so folks may decide to stay at home and wear a mask and only talk through the letterbox etc.

Obviously, we’ll be very careful, we’re not doing much interaction with the crowds, we are isolating and in a bubble much of the time. There will be no meet and greets this time around, the venues set the rules that we have to follow, but we’ll do what we have to to be able to play the shows and have a party.

JWS: I did notice that you have Phil Ehart of Kansas playing the drums on the track Shanghai to Samarkand.

SH: Yes, that’s right, I haven’t worked with him since ‘Please Don’t Touch’ back in 1977/1978. He’s one of the drummers on the album, we’ve also got Nick D’Virgilio (Big Big Train) and we also have Craig Blundell (Frost* and Steven Wilson). There are several people involved on the album from right across the globe, we have a guy from Azerbaijan, Malik Mansurov, on the Tar and a guy from Tajikistan on Dutar called Ubaidullev Sordirkhon Saydullevich, so right across the world really.  

JWS: You like your international collaborations don’t you?

SH: Yes I do, I like doing that. I like my local band but even that is spread across 4 countries now, Nad Sylvan is in Sweden, Jonas Reingold lives in Austria, Rob Townsend lives in Denmark now and we’ll all convene for ten days of rehearsals before being unleashed on the great British public.

JWS: So where did the album title come from?

SH: I prefer not to explain an album title, however, I would say all music flies in the face of silence. The surrender of silence is somewhat applicable when you make music for a living. Other than that, there are some aspects of social comments made in the lyrics where previously I haven’t been quite so vocal. I’m thinking of Fox’s Tango referring to Fox News.

There’s also social comment on the environment in Scorched Earth. Other things, Natalia is more of a story but there is social comment involved with that and then there are the instrumentals and the fun things, so it’s not all soapbox. As you scout around for subjects, I write all the time and my wife Jo writes certain things for lyrics too, we bat the ball back and forth between us and out of it all comes ‘The Surrender Of Silence.’

JWS: There’s an interesting first track in The ‘Obliterati’?

SH: Yes ,well that’s tapping with a kind of tongue in cheek title for all those familiar with certain books and certain writer. I thought it was a way to lead into Natalia but they are really the same tune in a way. I’ve separated them out so that you have a sort of mini overture or kind of underture at the front of the album and exposed tapping.

The last time I used that in isolation was ‘Voyage of the Acolyte’ back in the early 1970’s when I was exploring that the guitar functioning on its own but I decided to add some orchestral backing to it to bring it in line with what was to come with Natalia, which was more of a nod to Russian composers and orchestrators. The song is about an ordinary Russian woman, it’s almost like South Park in that she dies in every scene, in every verse but it’s a different woman and a different time.

The difficulty is that there is lots of orchestration and not a note of guitar playing until we are well into the track and I thought I’d better claim identity so The Obliterati came up as something to kick off the album.

JWS: It’s a commanding start to the album, I was listening to it this morning and wondering if it was a homage to Eddie Van Halen, who I know was greatly influenced by your tapping in his early days?

SH: Well, it’s a funny thing, I’m sad about his passing and that we never got to meet, it’s great when you hear of a fellow professional you’ve been an influence on or they just listen to you.

Earlier this year I was talking to an American journalist who told me that Pat Metheny had been listening to the ‘Under a Mediterranean Sky’ album and I also think of Pat Metheny as an atmospheric jazz player. Then you realize that in the world of jazz you’ll have people like Bill Evans being interpreted by folk like John Mclaughlin, another guitarist of note of course, he also liked the music of Eric Satie, I did an album of interpretations of Satie with my brother John Hackett in the early 2000’s.

He is brave enough not to fall back on technique, jazz is largely technique based and I greatly admire his ability to seek a bigger picture or canvas for his music to be drawn against. So it was interesting to hear that about Pat Metheny, I must reach out to him and talk with him. Perhaps similarities between musicians are greater than we give credit to.

JWE: I had a conversation with your brother John a few weeks ago about the album he recorded solo during lockdown, ‘The Piper Plays His Tune’, he was a lovely chap.

SH: Yes, John is a very gentle man and doesn’t have a bad bone in his body. We’ve been working together on somethings beyond this album too. John has been playing some scat flute like Roland Kirk, most people think of Ian Anderson of Jethro Tull, but scatt flute goes back further than that to the Mid 1960’s and the Beatnik area in the USA. I’m all for revisiting those eras, wandering in and out of different genres, it’s all possible under the progressive banner. John also has an excellent guitar player in Nick Fletcher.

JWS: Yes, I interviewed him too, he is a fascinating guy as well.

SH: I was greatly impressed by him and his album, I wrote a comment on the album which appears on the rear sleeve. I think Nick is one of the great hopes for British guitar, if there’s a chair to fill with the departure of another musician, then there’s a chair for Nick to fill.

People ask me who I listen to and, whilst there’s Andrés Segovia and Jimi Hendrix who get a lot of publicity, there is also Nick Fletcher, a phenomenal guitarist. Something of Bach and Handel and at the same time they’ll be listening to Miles Davis.

JWS: Nothing wrong with a bit of Miles Davis.

SH: Yes, he’s very interesting and very out there but recorded albums that are very different and was not afraid to do those. At the top of his tree, as a band leader, the people he worked with or chose him, there is this central pivot that is Miles Davis. Logic isn’t always the best seam to wander when writing lyrics.

JWS: I’m part of a writing group and we were doing abstract poetry using lines out of other books to create different words and lines with.

SH: Well poetry is very challenging, you must have music in the words. Stand-alone poetry, if you can draw some music from it, that can be very inspiring. Someone said to me some years ago that it’s no good reading Shakespeare unless you have a good grounding in all the myths and a good knowledge of language. Rather that you should read it for its music first and or its sound.

Years ago, when I was doing ‘A Midsummer Night’s Dream’ that’s how I went at it, I know diddly squat about Pyramus and Thisbe but I loved the music of it, you’re allowed to do that in poetry, you can do what you want. Peter Gabriel was very gifted at making up new words, as was John Lennon, some of us take longer to come up with new words.

JWS: Well Steve, my time has gone so I’ll say goodbye for now. Thanks for talking as always, good luck with the album and tour

SH: Thank you and good luck with the poetry too.

‘Surrender Of Silence’ is released on 10th September, 2021.

Pre-order the album here:

SURRENDER OF SILENCE – CD – SIGNED [Pre-Order] | Steve Hackett (hackettsongs.com)

Review – Big Hogg – Pageant of Beasts – by Jon Wenlock-Smith

Big Hogg hail from Glasgow, which is over 550 miles from their spiritual, musical home of Canterbury in Kent. Or so it would appear to be, based upon hearing this album, ‘Pageant of Beasts‘, that was released this July on Bad Elephant Music.

This album bears significant reminders of the thriving musical scene that Canterbury gave to the world through bands like Caravan, Soft Machine, Kevin Ayers and many others. It also has a heady mix of jazz leanings and and avant-garde feel, which makes the music different as well as memorable, taking in psychedelia and jazz influences along the way.

The first piece, Golden Beasts, is a solo trumpet fanfare which opens and closes the album and upon hearing it I was strongly reminded of 80’s jazz luminaries Working Week as they ploughed a similar cross-genre furrow back in the late 1980’s, rather successfully too. Next track Here Come The Moles is a little left of centre and hinged on a hypnotic bass motif from Martin Beer which, alongside Justin Lumsden’s guitar and vocals from him and Sophie Sexon, makes a rather impressive impact. Man Overboard brings a distinct west coast USA vibe to the party. Imagine the Beach Boys with trumpets and you’ll get the idea! It is another very interesting track, the brass section sounds fabulous here, adding much colour and impact to a fine track along with sweet flute from Sophie.

Smoking Again starts out like a Faces outtake with a raspy vocal from Justin and some fine fuzz and wah-wah guitar lines. There is a lot going on in this track but it manages to avoid sounding shambolic, in fact, along with Here Come The Moles, it is one of my favorite tracks on the album . This is followed by Willow’s Song which is a lot more atmospheric and ethereal sounding. It comes from The Wicker Man and this version is fabulous. Red Rum has a nod to folk group Pentangle, especially in the bass department. 

All Alone Stone really wears its Canterbury credentials on its sleeve proudly and puts me in mind of Greenslade with its keyboard stylings. This track is very impressive sounding indeed and is the longest track on the album. It is a gentle, yet exciting, musical progression, making it a great listen. I am really impressed by this album and I’ve enjoyed discovering its treasures slowly as they unfold over multiple listens. Magistellus is next and this offers a great interplay between flute and guitar in the middle section and is another very fine track.

The Wyverns is Big Hogg at their most proggy, almost space rock sounding at points and follows the pattern of the latter half of the album where the band really up their progressive side and offer some highly unusual pieces and some excellent musicianship, Bouffant Tail being a case in point, wildly unhinged and all very strange indeed. This is a short track that is rapidly followed by Cat Fool, which sounds like a long-lost track from the early days of King Crimson, albeit with added brass, very interesting and different and it also has a lovely guitar break from Justin. The album ends with the return of the trumpet fanfare, entitled Too Much Belly Not Enough Paw, which brings the album full circle to end as it began.

This is a remarkable musical journey taking in jazz, psychedelia and other influences along the way and is a testament to crafting different, yet still vibrant, music for today’s age. This album will take a while to seep through and sink into your brain, however this is so very worth it. Big Hogg are certainly mining a very interesting seam on this album and they will hopefully be able to create more marvellous music in this style soon. I certainly hope that they continue in this manner as this band have a lot to offer and will appeal to lovers of modern progressive music.

Released 18th June, 2021.

Order the album from bandcamp here:

Pageant Of Beasts | Big Hogg (bandcamp.com)

Progradar- Reviews Round Up – Part 1

This article sees me delve into the plethora of new music that has come my way over the last couple of months. I have collated what I consider to be the best of the new releases, albums I would definitely recommend, please check them out and I hope you enjoy them as much as I do.

Marius Leirånes – Langtidsperspektiv

Music and geography are closely related. Places have their sounds, and sounds have their spaces. A lot has been said about the “Nordic sound”, whether it be jazz, progressive rock, electronica or extreme metal. We tend to think of isolation, melancholy, a certain kind of light, coldness, vast stretches of ice and rock.

Known from the Norwegian prog band Pixie Ninja, Marius goes back to his childhood home to deliver a sparse, awe inspiring collection of songs that speak of the beauty of darkness and light and the ever changing weather and sometimes brutal, but always beautiful, landscapes of his ancestral homeland.

Electronica, ambient and post rock and prog are all touched upon on this ghostly and sublime release. ‘Langtidsperspektiv’ takes you on a journey that ranges from the serene to the stormy, and from the tragic to the triumphant.

Released July 23rd, 2021.

Order from bandcamp here:

Langtidsperspektiv | Marius Leirånes (bandcamp.com)

The Helicopter of The Holy Ghost – Afters

The Helicopter Of The Holy Ghost are Mark Morriss (The Bluetones), Billy Reeves (theaudience), Crayola Lectern (Lost Horizons/Departure Lounge) and Mark Peters (Engineers). The original concept for the material was probably formed while Billy was signed to Sony, which at that time, pointed toward a more commercial sound, however Crayola Lectern’s involvement on piano help send the recordings into a more ‘Canterbury’ direction, taking influence from Caravan, Robert Wyatt and the like.

Featuring a guest line-up including Simon Raymonde of Cocteau Twins, Dale Davis from Amy Winehouse’s band, Andy Lewis from Paul Weller’s group, Smiley from Joe Strummer’s Mescalaros and Thomas Anderson of fellow Kscope signees Gazpacho, the wide-ranging influence herein is evident throughout a very sweet, gentle, calming album of originality and versatility.

The music is low key, bitter sweet beautiful and, above all, has a calming grace imbued by the elegant vocals. The sound seems to just wash over you in a soothing and serene manner and take me back to nostalgic and wistful summers days of years gone past. On of the highlights is the graceful piano playing which perfectly matches the exquisitely world weary vocals.

As the promo material says, “What are these songs about? No-one knows. They are, however, very pretty.”

Released 13th August, 2021.

Order from Burning Shed here:

Afters (burningshed.com)

Giancarlo Erra – Departure Tapes

Departure Tapes is an album consisting of 6 contemplative recordings, written while travelling between the UK and Italy. The majority of these 6 tracks were improvised in the studio by Erra, so for the most part, are totally unique and hold a sincerity which cannot be replicated. It is the follow up to 2019’s acclaimed album Ends I-VII, with the new recordings reflecting what, has been an extremely difficult year for Giancarlo, with the loss of his father to cancer. Erra comments “In 2019 my first solo album was just being released, and I already had the view that I wanted to be more experimental with the second one, but no precise idea how at that point. Then my father suddenly got ill with cancer, and everything changed.”

An expert in knowing how not to fill the empty spaces, Giancarlo has written an instrumental album that speaks of the pain of being distanced from a relative and the simple beauty of a reconciliation. It is a sombre and thought provoking release and feels like a dedication to the father who he knew little of and yet cared for at the end of his life.

If music could tell a story of a life lived, lost and, deep at its core, loved then ‘Departure Tapes’ is it. I am along term fan of this intelligent musician’s brilliant work and this new release is another entry into his very impressive discography, I’ll leave the final words to the man himself,

“It’s the first album I have created without realising I was actually writing it, as it is so intrinsically linked to one of the hardest and yet more healing parts of my life. The end result is the most experimental, and at the times, the darkest material I have ever written, without compromise or set plan. It contains all the elements of my music in a very unconscious free flowing way.“

Released 2nd July, 2021.

Order from Burning Shed here:

Departure Tapes (burningshed.com)

The Neal Morse Band – Innocence & Danger

With NMB’s previous two releases being concept albums, it’s perhaps remarkable that ‘Innocence & Danger’ is a series of unrelated songs, but drummer Mike Portnoy says “After two sprawling back to back double concept albums in a row, it was refreshing to get back to writing a collection of unrelated individual songs in the vein of our first album.”

There is also plenty in ‘Innocence & Danger’ to excite those prog fans who have a thirst for epics, as Neal Morse explains: “There’s one half hour epic and another that’s about 20 minutes long. I really didn’t realise that they were that long when we were recording them, which I guess is great because if a movie is really good, you don’t realise that it’s three hours long! But there are also some shorter songs: some have poppier elements, some are heavier and some have three part acoustic sections. I’m excited about all of it, really.”

This album encapsulates everything that is good about Neal Morse and The Neal Morse Band, powerful, dynamic and with more than a dose of pomp and circumstance. The opening two tracks on Disc 1 are worth the price of admission on their own, majestic driving, hard rock songs with serious progressive leanings and a group of musicians who definitely know the score, the keyboard and guitar interplay on Bird On A Wire is just brilliant.

Then you get what every prog fan loves, the Neal Morse-penned prog epic and, in Beyond The Years, it is bound to become a classic. Not Afraid Parts 1&2, a cover of Bridge Over Troubled Water that just stays the right side of cheesy, you get just about everything you’d want from Neal and the boys, that man can really (and i mean REALLY) write a fantastic tune!

Released 27th August 2021.

Order from Burning Shed here:

Innocence & Danger (burningshed.com)

smalltape – The Hungry Heart

Smalltape is the project of the Berlin multi-instrumentalist Philipp Nespital, who basically does everything on the album, just about and he is one seriously talented individual. Intelligent, thought provoking and, above all, hauntingly beautiful music that, despite bringing to mind the likes of Echolyn, Radiohead, Steven Wilson and the like, has its own distinct identity.

The stunning album artwork is amazing in itself but venture deep into this collection of ten superb tracks set across two CDs and you will be ultimately rewarded with one of this year’s stand out releases. Cerebral and erudite throughout, the perceptive songwriting marries with Philipp’s creative brilliance to deliver a mind opening musical experience like no other.

I’m a massive fan of music that makes me think, music that doesn’t give up its deepest delights easily and ‘The Hungry Heart’ has that in spades. Hunger, Burning House, Dissolution, the list goes on, cuts of pure musical brilliance that showcase this young German musician as a seriously precocious talent and one to follow closely.

Released 16th July 2021.

Order from bandcamp here:

The Hungry Heart | smalltape (bandcamp.com)

Geoff Proudley is an English composer and keyboard player. He writes mainly for media but has had a number of flirtations with progressive rock over the years. Some with long memories may even recall his involvement with progressive outfit Coltsfoot in the mid-eighties.

Recent activity has seen Geoff return to writing and recording more progressive music. His solo EP ‘Quark’ surfaced in 2019 and 2020 saw a lot of writing, especially during lockdown. Those writing and recording sessions have produced two albums, the first of which is Tales From Strange Travels. Tales is an instrumental album. ‘It’s loosely conceptual. It’s about a journey. A fantastic journey but I like to leave it to the listener to paint their own pictures of what’s happening. Different people will interpret it in different ways and that’s great. Like in a book, we imagine what characters look like and the detail in our mind. It’s subjective and personal. Sometimes being too graphic can destroy that image.’

Geoff reached out to me a while ago but lockdown got in the way and it is only recently that I have been able to get to hear Geoff’s musical opus. I have to admit that I was smitten from the first note, it reminds me of a cross between the capes and mellotron prog excesses of the 70’s, the sci-fi shows of the same era, like Space 1999 and the ilk and those great electronica bands of the era like Kraftwerk. The keyboards flow elegantly and allow the listener’s mind to take them on a fantastical journey with occasional prompts and subliminal suggestions from the well constructed tracks.

It’s got too much intelligence to be considered psychedelic or spaced out like early Pink Floyd but it definitely cannot be considered mainstream either. Imagine your physics teacher having a penchant for some heavily progressive influenced progressive rock and a liking for Stanley Kubrick and you’d be on the right track.

Released 21st September 2021.

Order direct from the artist here:

CD Album – Tales From Strange Travels | gmp-music-production (geoffproudley.co.uk)

“We often start naive and green and either blossom into something remarkable, or we fizzle out – resigning to the life that we feared all along; the one we’ve been resisting – an uncertain path, a repetitive/menial existence, and the promise of a life without limitations. How far are you willing to go to either abandon or protect the way of life that you’ve been leading?”

These words paint the scene for the first act of alternative progressive rock quartet Head with Wings’ next chapter.

Amidst sweeping changes felt on a global scale, aspirations were put on hold, radiant futures dimmed, lives ended prematurely, and dreams were left to rot on the vine. For so many, the struggle was a silent one – a daily war waged alone.

On their forthcoming EP, ‘Comfort In Illusion’, Head with Wings draws the listener into the isolated, agonizing, and momentarily euphoric struggle for self-actualization amidst the stifling frame of an increasingly unfamiliar world. 

The collective’s first output since 2018’s critically-acclaimed debut, ‘From Worry to Shame,’ presents a concise summation of the group’s collective growth as artists and individuals. ‘Comfort in Illusion’ dives deeper into the quartet’s textural and emotive sound exploration with a timely personal narrative of self-discovery and the anxiety of change.

One of the most intriguing bands in the modern age of progressive rock, Head with Wings are masterful storytellers and immaculate musicians and any new release of theirs is a noteworthy event.

The three tracks on this EP have a depth of emotion and layers of sophistication that I have come to expect from this group of talented, young musicians. The music draws you into their intricate storytelling and every note has a widescreen feel to it, making the experience somewhat cinematic and always impassioned.

The poignant, almost melancholic mood that pervades the EP gives and intelligent and thoughtful feel and shows that the band understand that, even if the volume does go up to 11, you don’t always need to turn it up full.

‘Comfort in Illusion’ shows us that, when you have an incredible emotive depth to your music, less is most definitely more, Head with Wings still span epochs in terms of style, sound and substance and get better with every release.

Released 16th July, 2021.

Order from bandcamp here:

▶︎ Comfort in Illusion | Head with Wings (bandcamp.com)

JON GOMM ANNOUNCES REISSUE OF ‘SECRETS NOBODY KEEPS – PASSIONFLOWER 10 YEAR ANNIVERSARY EDITION’ – RELEASED 24th September on Kscope

Jon Gomm, the UK based acoustic guitar virtuoso, follows the recent release of his latest album ‘The Faintest Idea’ with news on the reissue of his 2013 record ‘Secrets Nobody Keeps’. The ‘Passionflower 10 year anniversary edition’ marks a decade since the release of his single ‘Passionflower’ that went on to change everything for Jon. A live video of the single racked up millions of views on YouTube and other media platforms in 2012 – with British legend Stephen Fry describing him on mainstream television as someone “playing the guitar in a way I’d never seen it played before” and “an all-round genius”. 

Follow up album ‘Secrets Nobody Keeps’ arrived in 2013, further cementing his status as one of the driving forces behind an acoustic revolution. Jon comments,

“I remember recording Secrets Nobody Keeps, in my spare bedroom studio space in one of the most notorious inner city suburbs of Leeds – My home, familiar, every dog bark, every shout. The passionflower in the yard which had inspired the song, having long since won the battle with the concrete, was still tangling itself around my house. The tempest of the previous couple of years of my life, since my little zero-budget friend-made videos had gone viral (the secrets nobody kept), and sent me on tour all over the planet: It had somehow wrenched me from my home, my sense of safety, even after I went back. Everything the same, but unsteady now. Maybe it was me that had been altered.

I was clinging on to my sense of self through these songs.”

Released on 24th September via Kscope ‘Secrets Nobody Keeps  – Passionflower 10 year anniversary edition’ features the original 10 songs alongside a bonus track of the 2020 version of ‘Passionflower’.

Despite the success of the track Jon never recorded a version of Passionflower that he’d been 100% happy with. So he called up an old friend, Australia based producer Andy Sorenson, who took Jon’s raw, intimate solo acoustic performance, and placed it in an expanded landscape which went on to form the sound of last year’s album ‘The Faintest Idea’

Jon adds, “I’m proud of this album. It was difficult to make, but I don’t like music to feel easy, to be purely soft, to offer only comfort and nothing more.  I hope you enjoy it the second time around.”

‘Secrets Nobody Keeps  – Passionflower 10 year anniversary edition’ – tracklisting:

1 – Telepathy 

2 – Ain`t Nobody 

3 – There`s No Need To Be Afraid 

4 – Wukan Motorcycle Kid  

5 – Deep Cut  

6 – Orville (The Secret Of Learning To Fly Is Forgetting To Hit The Ground) 

7  – Passionflower (SNK Version) – https://youtu.be/nY7GnAq6Znw

8 – Message In A Bottle  

9  – Dance Of The Last Rhino 

10 – Everything/You To Me Are Everything/Running Up That Hill 

Bonus Track

11  – Passionflower (2020 Version) – https://youtu.be/-325M16UAFU

Pre-order now – https://jongomm.lnk.to/SecretsNobodyKeeps

Jon Gomm will be touring the UK throughout October and November. For full dates and tickets visit:

https://jongomm.com/shows

MARIANA SEMKINA RETURNS WITH NEW ‘DISILLUSIONED’ EP

Following her 2020 debut solo album,‘Sleepwalking’, Iamthemorning vocalist Mariana Semkina returns with her new EP ‘Disillusioned’ set for release on 1st October. Combining dark folk with elements of electronica, ‘Disillusioned’ continues the evolution of Mariana as a solo artist.

Originally from St. Petersburg but now based in the UK, she spent a long period of the pandemic unable to write any new music, commenting, “I was unable to write a line – probably because I flew to Russia for a week and got stuck there when borders shut for half a year due to lockdown, which led to quite a bad depression – but after relocating back to the UK I got my second breath, got out of depression and got back to music.” 

The ‘Disillusioned’ EP features 5 tracks comprised of 3 original new songs alongside 2 covers sung in Icelandic and Hungarian, in which multiple layers of Mariana’s vocals combine with ambient electronica to create an ethereal choir like effect. Mariana states,

“The two choir pieces I chose to include are a homage to the two places i’ve visited many times and love going to – Iceland and Hungary. I have huge respect for different languages so I payed a lot of attention in getting everything done right, after all if you grow up learning a foreign language if gives you different attitude to such things. 
Each language is special and works differently and beautifully with music. History holds so many beautiful musical pieces so i plan to continue my research of European languages and musical heritage. There is a czech proverb that says “learn a new language and get a new soul” and I certainly feel this way – you get to know yourself better when speaking different languages and it’s an amazing experience.”

Lyrically the songs on the EP were inspired by the poets of the Victorian era such as William Rossetti, Elizabeth Siddal and Christina Rossetti most of all. Characterised by her composed and unique voice and complex melodic lines, ‘Disillusioned’ will appeal to fans of Mariana’s previous solo work as well as her band Iamthemorning but those who enjoy the music by the likes of Thom Yorke, Nine Inch Nails, Sufjan Stevens and The Cinematic Orchestra will resonate with the more ambient and electronica moments here.

The title ‘Disillusioned’ is partly a reflection of Mariana’s state of mind while writing the EP alongside a desire to have more control over her own work. This has led to her decision to self-release the EP having previously released her debut on Kscope adding, “having full control over your creations is quite precious and beautiful so i will enjoy it while i have energy to do absolutely everything myself to bring my projects to life. It’s a lot of work and a lot of responsibility but neither one scares me, i’m used to both.”

The EP was recorded remotely across the UK, Canada and Russia with regular collaborators, producer and guitarist Vlad Avy, alongside Grigory Losenkov who played piano, synths, bass and created the beautiful string arrangements. Drums on ‘Disillusioned’ were played by Svetlana Shumkova who also performed on Iamthemorning’s album ’The Bell’.

While self released on 1st October the EP will be available earlier to members of Mariana’s Pateron community who supported the creation and production of last year’s debut album. Mariana concludes, 

“This release as with everything i’ve been doing for the last two years was supported by my wonderful Patreon community. Having Patreon is a very strong motivation to keep me going because i know i’ll always have people to back me up, and they’re always the first ones to hear about any plans or get copies of everything I do so now i decided to use the fact that i’m self-releasing this to set a double release date, 17th September being the official Patreon release date, when all of my Patrons will get their digital copy of the album as a sign of gratitude for their support and some of them will get CDs and merch bundles.”

Pre-order the ‘Dissolutioned’ EP now – https://marianasemkina.bandcamp.com
Join Mariana’s Patreon community – https://www.patreon.com/marjanasemkina/

Leprous launch new single/video ‘The Silent Revelation from upcoming album ‘Aphelion’

Norwegian Rock outfit LEPROUS have introduced a new single entitled “The Silent Revelation” off their upcoming studio album “Aphelion”, out August 27th, 2021 worldwide via InsideOutMusic.

Check out “The Silent Revelation” in a video clip directed by Tobias Hole Aasgaarden / South Coast Creative here:

Following up on 2019’s highly acclaimed “Pitfalls” album, LEPROUS recorded “Aphelion” throughout the last year at three different studios: Ghost Ward Studios in Sweden, Ocean Sound Recordings in Norway and Cederberg Studios in Norway. The album was once again mixed by Adam Noble (Placebo, Biffy Clyro, Nothing But Thieves, etc.), mastered by Robin Schmidt (The 1975, Placebo, The Gaslight Anthem, etc.) and its front cover artwork was designed by Elena Sihida, based on photography by Øystein Aspelund. 

The album’s track-listing reads as follows: 

LEPROUS – “Aphelion” (56:06)

1. Running Low

2. Out Of Here

3. Silhouette

4. All The Moments

5. Have You Ever?

6. The Silent Revelation

7. The Shadow Side

8. On Hold

9. Castaway Angels

10. Nighttime Disguise

Next to the Jewelcase CD and Digital Album versions, “Aphelion” will also be available as limited edition Mediabook CD (with expanded booklet) and as Gatefold 2LP+CD with two bonus tracks: 
11. A Prophecy To Trust and 12. Acquired Taste (Live 2021). 

The album’s 180g 2LP vinyl version, which comes in Gatefold packaging and with the entire album on CD as bonus, is available in the following variants and limited editions: 

Black 2LP+CD – Unlimited

Ultra Clear 2LP+CD – 500x copies via IOM Webshop & CM Distro

Bright Gold 2LP+CD – 200x copies via JPC

Transparent Light Blue 2LP+CD – 200x copies via EMP

Creamy White 2LP+CD – 400x copies via O-Merch

Deep Blood Red 2LP+CD – 200x copies via Band 

You can pre-order “Aphelion” in its various formats here:

https://leprousband.lnk.to/Aphelion

Here is a list of upcoming live appearances by LEPROUS:

LEPROUS – 20th Anniversary European Tour

01.12.2021 Oslo (Norway) – Vulkan Arena

03.12.2021 Nijmegen (The Netherlands) – Doornroosje

04.12.2021 London (UK) – Electric Ballroom

05.12.2021 Paris (France) – Elysee Montmartre

06.12.2021 Aschaffenburg (Germany) – Colos-Saal

07.12.2021 Vienna (Austria) – Arena

08.12.2021 Esch (Luxembourg) – Rockhal

09.12.2021 Lyon (France) – Ninkasi Kao

10.12.2021 Barcelona (Spain) – Apolo 1

11.12.2021 Madrid (Spain) – LAB

13.12.2021 Milan (Italy) – Live Club

14.12.2021 Aarau (Switzerland) – KiFF

15.12.2021 Munich (Germany) – Technikum

16.12.2021 Berlin (Germany) – Columbia Theater

LEPROUS – Live 2022:

17.06.2022 Clisson (France) – Hellfest
25.06.2022 Valkenburg (The Netherlands) – Midsummer Prog Festival
16.07.2022 Cremona (Italy) – Luppolo In Rock
20.08.2022 Bristol (UK) – ArcTanGent Festival

More shows to be announced soon…

Stay tuned for more news on LEPROUS and “Aphelion” coming soon…

LEPROUS line-up:
(From left to right on photo by Elena Sihida)
Robin Ognedal – guitars

Tor Oddmund Suhrke – guitars
Baard Kolstad – drums
Einar Solberg – vocals/keys
Simen Børven – bass

The Pentangle Sign Four Album Deal With Renaissance Records

Available for Pre-Order

The British folk-jazz band, The Pentangle has signed a four-album deal with music label, Renaissance Records. Renaissance Records will be re-issuing albums The Pentangle, Basket Of Light, Cruel Sister and Pentangling onto deluxe package heavyweight vinyl. This will be the first time these albums have been issued onto vinyl in the United States since their initial releases in the late 1960’s to early 1970’s.

This folk-rock supergroup started out in 1967 under the original line-up of Jacqui McShee (vocals), John Renbourn (vocals and guitar), Bert Jansch (vocals and guitar), Danny Thompson (double bass), and Terry Cox (drums). Their sound is an eclectic mix of folk, jazz, blues, and folk rock influences that gives them their one of a kind sound. Their debut album, The Pentangle, is known for creating an innovative approach to recording acoustic guitars to deliver a very bright “bell like” sound.

The Pentangle’s third full length studio album, Basket of Light was released in 1969 and received commercial success. The song, ‘Light Flight’ became a popular hit single after it was placed as the theme song for the television series, Take Three Girls. The album placed at #5 on the charts and would be the peak of The Pentangle’s long career.

Renaissance Records will start with the release of their debut album, The Pentangle, Basket of Light and Cruel Sister onto deluxe 180g gram vinyl in late August of 2021. The remaining greatest hits album, Pentangling will be released in September of 2021. These albums will include extra incentives such as trading cards of the original band members, lyric sheets, lost photos, and more when you purchase them exclusively with Renaissance Records.

The Pentangle, Basket of Light, Cruel Sister, and Pentangling are available now for pre-order from

renaissancerecordsus.com

‘The Pentangle’ Track List

1. Let No Man Steal Your Thyme

2. Bells

3. Hear My Call

4. Pentangling

5. Mirage

6. Way Behind The Sun

7. Bruton Town

8. Waltz

‘Basket of Light’ Track List

1. Light Flight (Theme from ‘Take Three Girls’)

2. Once I Had A Sweetheart

3. Springtime Promises

4. Lyke-Wake Dirge

5. Train Song

6. Hunting Song

7. Sally Go Round The Roses

8. The Cuckoo

9. House Carpenter

‘Cruel Sister’ Track List

1. A Maid That’s Deep In Love

2. When I Was In My Prime

3. Lord Franklin

4. Cruel Sister

5. Jack Orion

‘Pentangling’ Track List

1. I’ve Got A Feeling

2. Helping Hand

3. Pentangling

4. When I Get Home

5. Rain And Snow

6. Lyke Wake Dirge

7. The Trees They Do Grow

8. A Maid That’s In Love

9. Once I Had A Sweetheart

Pentangle EPK

The Pentangle was formed in 1967 by John Renbourn and Bert Jansch, two guitarists who had both already recorded as solo artists since 1965. The duo was later joined by Jacqui Mcshee on vocals, Danny Thompson on double bass, and Terry Cox on drums and percussion. The Pentangle played a mixture of Jazz and Folk with Blues-elements, influences that the band integrated in their debut record ‘The Pentangle’. In 1969 they released their masterpiece Basket of Light, a commercial success including the single ‘Light Flight’ which served as the theme song to the UK television series ‘Take Three Girls’.

About Renaissance Records

Founded in 1993 by former Aerospace Engineer John W. Edwards who had a passion for music and a new idea to form a recording label. He focused on the reissuing of classic rock and classic country LPs on CD for the first time. Renaissance Records soon signed licensing deals with EMI-Capitol, Sony Music, Universal Music Group, and BMG/RCA/Arista. The record label has released recordings from artists such as Blue Oyster Cult, Crack The Sky, Girlschool, Roxy Music, Bob Welch, and Electric Light Orchestra Part II.

Review – Arc of Triumph – Rampjaar – by James R Turner

Released in March this year, following up the duo of Rory Holl and Simon Elvins self-titled debut from October 2017, with the additional guitar work of Luke Stephen Smith, their second album, ‘Rampjaar’, sees the band expanding their sound and style.

Stripping the sound back from the guitar heavy debut, this evolution of sound incorporates far more electronics and much longer songs that allow the atmospheric and moody sounds to grow and develop organically.

Starting with the electronic sounds and heavily synths of Heart of Earth, the great use of electronic textures and moody synth sounds and the mix of the electronic undertones and organic vocals works perfectly to create an atmospheric and ambient introduction to the album and shows how far the band have come since their debut release.

In Ahab’s Nightmare sees the guitars kick back in with a sublime heavy riff and lyrics inspired by the book Moby Dick. The song is narrated from Captain Ahab’s point of view and, like a lot of the songs on this album, has some very catchy lyrics and inspired musical sounds that help the song mesh and build as it grows.

The intensity of the music married to some great lyrics makes this an incredibly strong album, there are so many musical layers running through this album that you need to give it several listens before it reveals all it’s mysteries and, even then, you’ll get something different from each track as you delve deeper.

The heavier textured electronic sounds work really well in tandem with the duo’s songwriting, none more so than on the seven minute plus Sleeping in The River. Complex drum rhythms and synth sounds help build it towards it’s mighty conclusion and it just keeps pulling out magical music stops, from a heavy electronic riff where you’d expect the guitar to be to a synth solo straight out of the BBC Radiophonic workshop. This sounds like the bastard child of 90’s Depeche Mode and Nine Inch Nails and the vocals are magnificent throughout, with choral effects mingled with synths bringing the song to its epic finish.

There is a sense of ‘less is more’ throughout this album, where the sparse electronics give room for the songs to grow and, by paring back the sound, it is strikingly different to other albums released this year and it works, allowing the vocals to take centre stage. This an assured and mature second album that really builds on the foundations that their debut laid down. The songwriting and use of effects and textured samples really enhance tracks like the beautiful piano driven The Wisp, which is a haunting and emotive piece of music.

The album closes with the longest track, Looking Down At The Moon, a complex epic that combines the best parts of the band’s albums so far. A gentle guitar riff suddenly builds into a mighty musical explosion, reminding me of singer songwriters like Ed Harcourt or Tom McCrae, along with heart on the sleeve lyrics mixed with complex and intricate musical undercurrents. The shimmering guitar solo on here is worth the price of admission alone as the song just builds and builds to a dramatic and satisfying musical conclusion, the guitar ripping through the music, shredding and driving the song on, this is the absolute definition of a slow build!

There is no bad track on this album and the way each one weaves and flows into the other marks this as an album that needs to be listened and absorbed as its creators intended. A definite ‘headphone’ album where you can appreciate the sonic majesty on show here.

With some of the mighty sounds, intricate musical pieces and dynamic performances, it’s hard to imagine this is the work of a duo and that is what makes Arc of Triumph so good. This is a fantastic follow up to an almighty debut and one that sees the band grow and develop and is an album you have to hear. I think this is definitely one of the standout releases of 2021 and one I keep revisiting and getting something different from it each time.

Released March 19th, 2021

Order from bandcamp here:

▶︎ Rampjaar | Arc of Triumph (bandcamp.com)

Review – Steve Howe – Homebrew 7 – by John Wenlock-Smith

Steve Howe is certainly prolific, in the last few years he has released records with his sons Virgil and Dylan and released a new solo album, all along with a live Yes album, ‘The Royal Affair’, and also has a new Yes studio album due for release in October (marking the band’s first new material since the death of Chris Squire).

This new release by Steve of his solo recordings or sketches, ‘Homebrew 7’, is a most welcome set. What is different to his previous ‘Homebrew’ releases is that, this time, all of these pieces have not been written for any of his other projects, like Asia or Yes. The album is a mix of styles and sounds, taking several directions, along with several vocal tracks. Now, while Steve doesn’t claim to be a singer, he is more than okay on these tracks and his guitar skills continue to shine. It is good to hear that Steve continues to create new music regularly and that he is not content to retire or withdraw from musical life or activity just yet. This music shows that he still has a fire and a passion for his creativity to continue unabated for a while yet at least, in an era of ageing rock stars this is a joy to see and hear.

The highlights of this album are many and varied, most of the tracks are really musical sketches or frameworks, ready for further input or completion, let’s have a quick trawl and see what lurks within these pieces…

The album begins with a short piece called The Glider which offers a chance for Steve to show his proficiency on steel guitar, armed with a GS10 processing effect unit to give his guitar a soaring tone to it, all very simple but all very effective and pleasant. Like much of this album, these pieces do not overstay their welcome at all. Steve is from the ‘less is more’ school of guitarists and he does not overplay or over complicate matters at all. In an age where many guitarists are shredders, this makes a welcome and refreshing change.Steve could probably do all that and more but, here, his wisdom and restraint pay real dividends.

October follows and sounds like something from the George Winston/Windham Hill album which is no bad thing at all. This is a briefly orchestrated piece and sublime sounding it is too. Next up is the first Vocal Track Half Way, with Phil Spalding on bass. This is quite a surging rock song with a chugging riff and chiming guitar line in amongst everything that is going on. With nice brief solos accompanying the vocals, it’s a great little number that is really fiery and the end is sudden and final. This in itself is brave in not having any long run out or fade and is highly effective. The Only One is next and offers a bluesy swing, again, another highly effective interlude. Sadly this piece is way to short, it would have been good to hear Steve wail over this track a lot more. In One Life follows and this piece dates back to 1982 and is a simple piece in a similar vein to Muskrat.

Outstanding Deal is the second vocal track. I feel that Steve’s voice may not be really suited to this song but, even so, he gets away with it because the music is brilliant, with a great sounding steel guitar part that elevates the piece and gives it a sense of atmospherics that carry it well. Be Natural is different in that it features Steve’s guitar being powered through a Leslie Speaker which gives a very unique sound, all very clipped and slightly overdriven. This is a neat but effective trick and it sounds great. It’s a short piece but highly effective and interesting. Cold Winds is another older piece from 1983 with some great double tracked guitar lines and includes drums from a 14 year old Dylan Howe. Deanscape is a piece Roger Dean has used on his website for a while. Dating from 1982, much of what was used has been forgotten over the years but, again, this is an atmospheric piece.

Tender Hooks is up next and is an acoustically driven piece with steel guitar lines soaring over the top, it is another fairly simple piece but one that is full of melody and charms. Another vocal song, A Lady She Is, follows and this is a quiet tranquil piece with electric mandolin in a duet with Steve’s Gibson ES175D. This is simply a beautiful piece of music and again highlights Steve’s talents and skill superbly. Two Sided offers Steve chance to play over a choral backing and add his unique steel guitar sounds to a brief piece of music. This is followed by Strange Wayfarer, a jolly little jaunt that has comedic leanings written all over it. It has a simple rhythm and sounds suitable for Children’s TV series played on a Synth effect guitar. It is certainly different and yet somehow still interesting. Devon Girl is another short vocal track. An older track from 1983, it is still a good little number one that could work as a worked piece at some future stage perhaps. Safe Haven features an ascending guitar line with multiple guitars answering each other most effectively. The excellent crunchy guitar line added to proceedings makes this another effective number.

A Matter Of Fact is a fine bluesy number with a strong guitar line making it stand out significantly. Touchstone is a short but highly effective number with some great Telecaster guitar tones and lines in it too. Effective, brief and excellent. From Another Day dates from the ‘The Steve Howe Album’ sessions in 1979 and is the final vocal song. This is a brief song followed by Forgone Conclusion which is another piece with wailing steel guitar sounds. It’svery spacey sounding and a great little piece. Space Void is 70 seconds of synthesizer sounds and noise, like a lost Hawkwind track from 1972! The final track, From The Get-Go, is a song featuring Steve’s favourite Gibson ES175D as the star. With a lovely tone and delightful sound added to a shuffling beat, this closes the album in style.  

Well, there you have it. Twenty one straight forward pieces of artistry from a man whose guitar skills have graced many classic prog albums over the years. From ‘Close To The Edge’ to the forthcoming Yes album, ‘The Quest’, from Asia’s debut in 1982 to his own collection of solo and group albums, this man has done it all with style and here he shows the bare bones of his skills in a great set that is a worthy addition to his canon or works. Ladies and Gentlemen, Mr Steve Howe on guitar…

Released July 30th, 2021

Order the album from Cargo Records here:

Steve Howe ‘Homebrew 7’ (cargorecordsdirect.co.uk)

Review – Evership – The Uncrowned King Act 1 – by John Wenlock-Smith

Evership are, if you do not already know, the new face of American Prog, their music is a graceful and enticing mix of lots of classic US Prog and Pomp Rock bands like Kansas, Styx and Starcastle, to name just three. This ,along with their love of European progressive rock like Genesis, Yes, Gentle Giant and PFM (and romantic classical music) makes for a heady mix of sounds and textures.

They are most definitely a band to watch in the next few years. Led by Shane Atkinson (keyboards, drums, vocals, percussion, theremin and sound design) and aided by Beau West (lead vocals), James Atkinson (lead guitar) and John Rose (rhythm, classical, acoustic and lead guitar). They are also supported by Ben Young on bass and a few other friends also lend their talents to this album.

The album takes its inspiration from a book published in 1910 by Harold Bell Wright called ‘The Uncrowned King’, an allegory in the style of John Bunyan’s ‘Pilgrims Progress’ with a story arc that fuses Mark Twain’s ‘The Prince and the Pauper’ with Charles Dicken’s ‘A Christmas Carol’. The book is about the search for truth and how real truth cannot be found solely with just our five senses. That truth  is a more transcendent concept and one must show courage in the pursuit of it and its consequences. This is a two part story, this album is part 1, with part 2 in the pipeline. If you like the works that Neal Morse has offered, like ‘The Great Adventure’ and ‘Similitude Of A Dream’, appeal to you then I suspect that this one will too, as it ploughs a similar furlough in style and meaning.

Unlike Neal’s work, this album merely hints at spirituality rather than making any blatant declarations. This is, I feel, a highly effective tactic as it means the listener must reach his own conclusions about the viewpoints raised in the album. The album touches on religion, but it is not about religion although it does feature throughout.

The album has seven tracks, an epic sixteen minute track, three long tracks around ten minutes long and three shorter tracks. Together, this all lasts for just around sixty minutes and is full of excellent music and songs with quality lyrics. You will need the booklet with you to comprehend and grasp the subtleties of this album to get maximum enjoyment and appreciation of this piece of exquisitely crafted music.

The album opens with The Pilgrimage, which starts with a long instrumental section of about four minutes with lots of keyboards and synths, this is followed by some chunky guitar riffs as vocals are introduced. This is very symphonic sounding prog and very well done indeed. The pilgrimage details the journey the traveller makes from the Desert of Facts to The Temple of Truth and acts as an opener to the tale. Upon reaching the temple the traveller must meet the criteria for entry. The traveller is granted entry to The Quiet Room where he will be visited by four voices, firstly The Voice of The Waves who speaks of The Great That Is, The Uncrowned King and a Magic Crown.

This is followed by Crownshine/Allthetime which relates more of the backstory to the tale and commences with keyboards for one and a half minutes before Beau West starts singing of how the Crown was beautiful, magical and marvellous. All this is aided by some soaring guitar lines, choral voices and what sounds like tubular bells, although it could be played by the the synths of Shane Atkinson, all in all a strong and agreeable opening section.

The Tower follows where the narrative is told in song, of how the two princes in the kingdom wanted more than what they could see. Whilst looking from the tallest tower in the land they could see in the distance another land that looked good to them and so they sought consent from the king to go and discover this land for themselves. As they looked beyond their world to seek out and find new experiences and attractions to satisfy their wanderlust, the two princes, Really-Is and Seemsto-be, are prepared to risk everything.

There is a lot going on in the section with some excellent musicianship and some strong themes, along with lots of information pertaining to the story. We are also introduced to the two princes, Really-Is and Seemsto-be and we are also told of the life they lived, happy in a land where they enjoyed freedom of choices about what they chose to believe and the way they lived by. It also tells us of how they both looked the same and no one could tell them apart, a critical part of the tale as it transpires. 

The Voice of The Evening Wind introduces the two princes, their steeds Reality and Appearance and set us up for the adventures they had in the pursuit of what they did not have. This is the paradox at the heart of the tale and how truth can be deceptive, and wisdom can be forgotten and forsaken in foolish quests.    

The book on which this tale is based is certainly an interesting and intriguing one, one that, because it is over 200 years old, is not always clear in the points it makes but it is worth looking into. It is a book much loved by Shane and Beau and the video on their website details its impact on them. 

This album takes you partway into the tale with the remainder to follow later this year and if it is as good as this one is it too will be very warmly welcomed and received, you really need to listen to it several times to understand, excellent work from all concerned.

Released May 21st, 2021.

Order direct from the band here:

Evership Store – Purchase CDs, Vinyl, T-shirts and other Evership Merchandise