Caligula’s Horse, a band at the forefront of Australia’s progressive rock scene, are set to begin their European ‘Aussie-Invasion’ tour imminently, and to celebrate they have launched a video for “The Hands are the Hardest.”
Jim Grey (vocalist) comments: “’The Hands are the Hardest’ is one of my favourite tunes from In Contact – it was the first we completed for that album and for that reason it holds a special place in my heart. The story of struggle within this song resonates with me personally, so it only felt right to make this tune a focus for our first headline tour in Europe, the biggest tour we’ve ever embarked upon.
We’re taking a 27-show journey across Europe, and night after night we’ll be sharing this song’s story with all of our people – it’s going to be something truly special.”
Joining them on their EU tour will be fellow countrymen & progressive metal powerhouse Circles on their momentous return to Europe as main support, and instrumental guitar prodigy I Built The Sky (for their first European appearances). The run will also see Caligula’s Horse make appearances at several festivals including Euroblast, ProgPower, Very Prog Festival, Damnation Festival and AMFest.
You can find the full list of dates below:
Friday October 5 – Euroblast Festival, Cologne, Germany
Sunday October 7 – ProgPower Festival, Baarlo, Netherlands*
Monday October 8 – Backstage, Paris, France
Tuesday October 9 – Ferrailleur, Nantes, France
Thursday October 11 – Mungirock Aretoa, Mungia (Bilbao), Spain
Friday October 12 – Very Prog Festival, Toulouse, France**
Saturday October 13 – AMFest, Barcelona, Spain**
Sunday October 14 – Nazca, Madrid, Spain
Monday October 15 – RCA Club, Lisbon, Portugal
Wednesday October 17 – KiFF Foyer, Aarau, Switzerland
Thursday October 18 – Legend Club, Milan, Italy
Saturday October 20 – Collosseum, Kosice, Slovakia
Sunday October 21 – Dürer Kert (Room 041), Budapest, Hungary
Monday October 22 – KSET, Zagreb, Croatia
Tuesday October 23 – Strahov 007, Prague, Czech Republic
Wednesday October 24 – Musik & Frieden, Berlin, Germany
Thursday October 25 – Headcrash, Hamburg, Germany
Saturday October 27 – Fangelset, Gothenburg, Sweden
Sunday October 28 – John Dee, Oslo, Norway
Monday October 29 – BETA, Copenhagen, Denmark
Tuesday October 30 – The Tube, Dusseldorf, Germany
Thursday November 1 – Boston Music Room, London, UK
Friday November 2 – Audio, Glasgow, UK
Saturday November 3 – Damnation Festival, Leeds, UK**
Sunday November 4 – Mama Roux, Birmingham, UK
Monday November 5 – Star And Garter, Manchester, UK
Tuesday November 6 – The Lanes, Bristol, UK *I Built The Sky Not Appearing **Circles & I Built The Sky Not Appearing
Watch the video for the track ‘Songs For No One’, taken from the latest album ‘In Contact’, here:
“The darkness of the ultimate light is better than the lights of the ultimate darkness.”
― Mohsin Ali Shaukat
One cannot truly appreciate the light unless one has first walked in the dark. We talk of the light at the end of the tunnel, you see this through the dark and it is the ultimate goal, you must, however, travel through the dark to reach the light.
The tragedy that befell in February 2016 called into question the very existence of Riverside. The co-founder and guitarist of the band, Piotr Grudziński, died suddenly just before his 41st birthday. The band cancelled all the concerts planned for that year and dedicated the album “Eye of the Soundscape”, released in September 2016, to their late friend.
To begin a new chapter of Riverside, they would have to record an album from the point of view of someone bereft, someone who has survived a tragedy. The fact that the album would be recorded without their guitarist might result in having to experiment musically a little more than usual but, most of all, it might translate into deeper symbolism and carry a more profound meaning. “I had a feeling we would be alright and we could make something beautiful and exceptional,” recalls vocalist and main composer Mariusz Duda.
In the spring of 2017, Riverside resumed playing live. During the “Towards the Blue Horizon” tour the band were joined on stage by Maciej Meller who officially joined RIVERSIDE as their live guitarist. Why has he not become the official fourth member of the band? “It’s not so simple,” Duda explains, “To catch up with 15 years takes time. I love Maciej but everything has to have its place and time. For now we are a quartet only live.”
So that band is coming back this year with their seventh studio album called “Wasteland”, recorded as a trio: Mariusz Duda – vocals, guitars and basses, Piotr Kozieradzki – drums and Michał Łapaj – keyboards and Hammond organ.
The band entered the recording studio in December 2017 and Duda assumed the duties of the band’s guitarist. “We recorded a demo. It turned out alright and we had come to the conclusion that I would manage to play all the rhythmic parts, all the melodies and some of the solos. Naturally, to enhance the sound of the album, we left some space for guests.”
And so on the new album, you can hear a few guitar solos by Maciej Meller, as well as one by Mateusz Owczarek, a young, talented guitarist, who played with the band during their Warsaw memorial concert for Piotr. For the first time in their music, there are also violins played by Michał Jelonek.
Touted by the band as the spiritual successor to ‘Second Life Syndrome’, the new album is a much heavier and emotive proposition than fan favourite ‘Love, Fear and the Time Machine’. From the opening strains of Duda’s a-cappella vocals on The Day After and the segue into the sparse, industrial riff of Acid Rain, this is immediately apparent. An underlying feel of apprehension and darkness takes over the first few tracks on the album, for an album whose theme is attempting to survive in a world after the Apocalypse this is, perhaps, quite understandable.
This opening may surprise long term fans but it is superbly well crafted and delivered music that seeks to find a way through an increasingly turbulent world full of new divisions and conflicts. The closing couple of minutes of Acid Rain seem to bring a feeling of light and hope but that is immediately dashed by the granite heavy, staccato riff that delivers Vale of Tears onto an unsuspecting world. A powerful and imposing track that is delivered in one serious and heavy manner. So far ‘Wasteland’ and its predecessor are proving to be polar opposites.
The symbolism of the album refers not only to the post-apocalyptic visions of the world, but also to the death of Piotr Grudziński, to the band’s attempt to find themselves in new circumstances. The wistfully heartbreaking Guardian Angel with its understated vocals and delicate piano and guitar is calmness personified among the dark, post-apocalyptic feel of the earlier tracks. There’s a melancholy feel and a longing at its heart that brings a lump to your throat, a sepia tinged look back in time perhaps?
The elegant acoustic guitar that opens Lament gives no indication of what is to follow, Duda’s keening vocal heralds the entrance of the heaviest riff on the album so far, one that Mikael Åkerfeldt would have been proud of. A song that will inevitably draw comparisons with Opeth (well, I’ve done it!!) with its spacious and melodious verse and thunderous chorus. It’s the song on the album that really hits home with me, emotionally and musically, and Mariusz Duda’s solo just bleeds passion.
There’s a slight change in feel on the album as we head into the ying and yang of the 9 minute-plus instrumental The Struggle For Survival, a feel of the fight to pull away from the hold of the darkness and fight to get to the light. An invigorating first half where Duda’s bass line orchestrates proceedings with a deftness of touch is replaced by the more frantic and chaotic guitar and keyboard heavy second part where Łapaj comes to the fore. The graceful River Down Below sees the seeker getting closer to the light but there’s still a slightly forlorn edge to the music and a fragility to the vocal, a touching and truly moving song that wears its heart on its sleeve.
Title track Wasteland has a world-weary aura, a feel of an ending to a journey of extreme hardship but also one of hard fought knowledge collected along the way. The song drifts along with a lightness of being that can only come from the triumph over adversity. There’s a break into a frenzied instrumental section that fights to overcome the calm before sanity finally regains control. This gives an epic and cinematic feel to the song, an allegory of the fight between darkness and light which has been at the crux of the whole album. For me, the best is saved till last, the wonderful The Night Before where the sparsity of just piano and vocals gives humanity and reality to the song. It’s sublime, almost intangible grace seeps into your very soul until the song finishes and all is left is the vacuum of total silence.
Simply put ‘Wasteland’ is two things, a triumph of the light over the dark and a fitting tribute to Piotr. A compelling and engrossing musical journey through darkness, grief and loss to emerge into the light. A spiritual catharsis that sees a new chapter in the life of Riverside and puts them back at the forefront where they truly belong.
“If you want to experience a deep journey into sound, ATME is a band you are looking for.”
Well, that’s quite a strapline isn’t it? Definitely enough to get me intrigued but, first, more about Poland’s ATME from the Press Release:
“ATME was founded in 2011 in Wrocław, Poland. The band consists of four friends and integrated personalities crafting their own musical language mostly by improvisation during rehearsals and concerts.
“We like to leave our comfort zones in search of our own unique sound and character, the best way is by putting ourselves in a state of being here and now and just letting the music flow through us” – states ATME’s guitarist Piotr Guliński.
The stories behind their songs are the result of observation of the world and people. Lyrics discuss issues concerning the existence, spiritual development and psychology of the human mind.
“Music needs to be alive, to interact with us, people and the world around us, it needs to breathe” – says vocalist Luke Pawełoszek.”
Along with Piotr and Luke, ATME’s line up is completed by Adrian Nejman – bass and Paweł Zborowski – drums & percussion. ATME’s sound can be associated with some of the works from bands like Tool, Led Zeppelin, Budgie, Opeth, Mastodon, Perfect Circle or Faith No More, while still maintaining an identity of their own.
So, big shoes to step in but step into them they do. The band’s debut release ‘State of Necessity’ is a dark and powerful statement of intent shot through with some quite beautiful moments of light and lucidity. There is a touch of jazz to opening tracks Worthy of Pity and Pleasure Box that does give a feel of Faith No More to the music, if Faith No More had spent a few days locked in a dark dungeon with Satan himself that is.
For this is a very dark album in places, deliciously dark in fact, the guitar riffs feel like they have come from the darkest recesses of the Earth and the obsidian drumbeat is hewn out of solid rock. There’s no comfort zone here, just the stylish, raw musical sound of a band crafting their own musical language and forging their own unique sound. Be it the grunge-heavy groove of the fabulous Trickster or the hard-rock-fest of the riotous ten minutes of Interrupted Call, like Led Zep on some serious acid, this band have crafted some seriously impressive tracks.
Through it all Luke’s impressively world weary and gravelly vocal drives things along, accompanied by that superb sound from Piotr’s memorable guitar and the truly heavy rhythm section of Adrian and Pawel. There are rare moments of calm within this thunderous musical storm of an album, moments that concentrate your thoughts on what is coming next, Pecto Dril, which will rock you like the proverbial hurricane, or (un)cut Thoughts with its more cerebral moments, either is a force of nature.
The album closes with the monster Hotel of the Transfiguration, a near ten minute journey into the soul of the beast and one of the best prog metal/hard rock/grunge tracks you’ll hear this year, this truly is the primeval sound of the earth at its elemental core.
Well, if you want a complete heavy mind-f*ck of an album that will, literally, blow you away but one that is full of intelligence and incisive songwriting then you need look no further than ATME’s brilliant debut ‘State of Necessity’.
IMAGES AND WORDS BEHIND PROG’S MOST CELEBRATED ALBUMS 1990-2016
Well known and respected within progressive music circles as the man behind The Prog Report, Roie Avin has worked with various labels and rock and prog artists over a 20 year career in the music business.
This new book looks into the stories behind the best prog albums from 1990-2016, eschewing the classic prog bands who made their name through the ’60’s, ’70’s and ’80’s, like Yes, Rush and Pink Floyd. As Roie says in the introduction, “Prog didn’t fall off the cliff after getting Close To The Edge, it continued on the Bridge Across Forever.”
A mighty tome of coffee table reading size, ‘Essential Modern Progressive Rock Albums’ looks in-depth at how these albums came about with exclusive interviews from the artists involved and the requisite amount of glossy pictures.
A comprehensive guide to over 50 albums that shines a light on such gems as Queensrÿche’s 1990 release ‘Empire’ that opens the book and ‘Whirlwind’, the 2009 epic from Transatlantic to Big Big Train’s legendary 2013 album ‘English Electric: Full Power’ and ‘Similitude of a Dream’, Neal Morse’s brilliant 2016 retelling of A Pilgrim’s Progress that closes things out. Roie has a genuine affection for the music and the artists who released it and this comes across in his intelligent, and warm writing style.
With a seemingly inexhaustible supply of encyclopediatic knowledge, Roie devotes a chapter to each album with a well written introduction leading into the main description, there seems to be nothing that this man doesn’t know about his subject.
There’s some albums in there that I have never touched on but now will and also some of my favourite records that will gain a new lease of life due to Roie’s enthusiastic and descriptive words, albums such as ‘Milliontown’ from Frost* and Porcupine Tree’s‘Fear of a Blank Planet’, this engrossing guide brings the history behind the music to the fore.
Yes, there are some albums that don’t make the guide that, in other people’s opinion, maybe should have but there is so much in-depth material here that you will be dipping in and out for many years to come. And, for the music nerd, there is an extensive knowledge base for you to play one upmanship with your fellow music loving friends.
What you have here is exactly what Roie has set out to deliver, the essential guide to modern progressive rock albums and it is an entertaining and engrossing read that you will enjoy for a long time to come.
Nosound have come a long way since their humble beginnings as a solo project of main man Giancarlo Erra. Six studio albums along with the odd EP and live CD/DVD have seen them hailed as one of the most interesting up and coming alt/art rock bands in Europe. Nosound inventively combines influences from ’70s psychedelia, ’80s/’90s ambient and contemporary alternative and post rock.
The follow up to 2016’s ‘Scintilla’ sees the band forging a different sound. “Allow Yourself’ is a new phase for Nosound. Finding a new balance between organic and electronic sounds. stepping away from rock structures and ditching guitars to have more space for experimentation.”, says Giancarlo, “It is a stripping back of what we have known before, and its inspirations are in a different field altogether, finding the band in a new space once more, wholly embracing Alternative/Electronic influences.”
So is the new sound of Nosound (sorry, couldn’t resist that!) a step in the right direction. Well yes….and no…
There are times when you bemoan the absence of the lush chords and wonderful orchestrations of the previous albums, especially ‘Afterthoughts’ and ‘Scintilla’ and, to my ears, some tracks that just don’t work at all. However, at other times, it’s minimalist feel and heartrending simplicity is painstakingly beautiful.
The highlights of the album are the wonderful, ethereal sounding shelter, my drug, this night and saviour, four tracks where the band’s desire to take the stripped back route works just about perfectly, leaving you with a feeling of whimsical, melancholy delight. The slow burning desire of at peace works particularly well, all the pent up desire burning under the surface but never allowed to break free.
The less is more approach works less well on ego drip, don’t you dare and weights, all good songs but just lacking that spark I have come to expect from this band. I just cannot get into growing in me and defy at all, I’ll just leave it that they are not my cup of tea.
So, overall, I have to say that I was a little disappointed with the new album. I always applaud a band’s desire to progress and change, that is the lifeblood of music but, for me, there is just too much pared back minimalist style on the album. The good tracks are very, very good indeed but they don’t quite make up for the others. It is by no means a bad album but the change in direction just doesn’t fit with my musical ethos.
“Lathe of Heaven sounds religious doesn’t it? And it is, sort of. Vaguely. Well, almost entirely unlike religion as it turns out. To explain…
A favourite novel of mine is The Lathe of Heaven, by Ursula Le Guin. While writing the book, she was apparently very taken by some Taoist verses by Chuang Tse XXIII, which she used here and there in the story. The book title is from one in particular:
‘ To let understanding stop at what cannot be understood is a high attainment. Those who cannot do it will be destroyed on the lathe of heaven.’
Years after the book was published, Le Guin discovered that this is a terrible translation of the original writing, but it was way too late to do anything about it. She still liked the sentiment though, and so do I. I take it to mean something like, ‘To know that something is unknowable, but still struggle to understand it, is a path to madness.’
So why did I call this project Lathe of Heaven? I’m not letting on, but if you think about it hard enough, perhaps one day you will understand.”
Songs about lust for power, mass extinction, chocolate, apathy and the Voyager spacecraft – Lathe of Heaven is a solo music project by Martin Giles from Hampshire, UK. Martin spent 30 years in the music industry, first as a recording engineer, and then mastering at CTS Studios and then Alchemy Shoho in London.
‘Now There’s No Room’ is a statement about the world we live in and how humanity is impacting on that world.
Martin quotes in his blog on the Lathe of Heaven website:
“So these days, I’m preoccupied with all the ways we’re screwing things up, and all the forces that conspire to maintain this catastrophic momentum. On the other hand, there are a few signs of hope, a few people who make a noticeable change for the good, and I write about them too.”
This is an album full of melodic, song-based tunes, a truly progressive album in the sense of the word. Martin Giles is a very accomplished musician and his obvious production and mastering skills are evident in every note. The Sibylline Books is a gentle and elegant piece of music that sets the tone for the whole record, the impressive vocals are measured and smooth and lend an authoritative hue to the track, ‘You don’t know what you’ve got ’til it’s gone.’ Never a truer word…
Now There’s No Roomis a melancholy and yet almost spiritual song, its pensive mood belying the graceful delivery of the vocals and ethereal music. As it comes to a close it leaves a burning emptiness inside you. How long until all the figures of speech we have that allude to animals are made permanently obsolete? Misunderstood takes the hard rock root with a stylish riff and gravel edged vocals that would have made Joe Cocker proud. It’s jaunty, devil-may-care feel is infectious, it’s all about how to avoid worrying about anything.
There’s a sparse, oriental feel to the minimalist beginnings of Suit (some of the villains of the piece). It has a meandering, spacey jazz feel running throughout with the laid back drumming and stylish guitar. This is music for the mind, it encourages and instigates discussion and thinking. The Barefoot Chocolate Maker is, by way of contrast, a true story about a good man who really made a difference. To my ears there is a feel of ‘Wish You Were Here’ about the track. It’s simple delights bewitching, the story is all you need, no embellishments. The wonderful extra track Theme is a musical palate cleanser and enthralls with its childlike innocence and uncomplicated delights.
Marionettes has a slow buring beginning that blossoms into another effortless piece of music. I have to mention the vocals that, throughout this album, have been very impressive and lend a mature feel, an agelessness beyond our years, tot he music. The wonderful keyboards and acoustic guitar again giving a nod to Floyd, ‘The puppets refuse to return to the box’. This album just keeps getting better, Martin has proven himself as a very intelligent songwriter throughout and Panopticon/Rome Burns is no exception. Perhaps darker than the other songs with a very profound and influential feel to it, it showcases the subtle and discerning side to Martin’s skillset and asks the question ‘How much do we really know, and how should we respond?’
This thought provoking album comes to a close with The Last Song that subtly says, ‘We certainly won’t be around in a million years. Will there be anything at all to hint that we were ever here? Calmness personified with the delicate guitars and hushed vocal, it certainly leaves you in a very thoughtful frame of mind.
Intelligent, inventive and perfectly crafted, ‘Now There’s No Room’ is a captivating and utterly absorbing fifty-four minutes of intriguing and provocative music and an album that Martin Giles should be immensely proud of.
I was relatively late to the Pineapple Party, first picking up on their ‘Someone Here Is Missing’ album, and since then I’ve enjoyed the journey through ‘Magnolia’, and ‘Your Wilderness’, their first album (&tour) with Gavin Harrison, the drummer’s drummer and the contemporary Bruford.
His performances on the tour (along with Darran Charles) on 2nd guitar gave frontman Bruce Soord room to breathe on stage and step up to be the frontman we always knew he was capable of being. Seeing them play in Bristol was sublime, the best I had ever seen them, those doubting this should seek out the ‘Where We Stood’ live documentary of this tour.
The best bands have the best drummers, (look at Led Zeppelin, Deep Purple, Yes, King Crimson and Gandalfs Fist) and it’s the interplay between the music and the skill of the drummer that raises it somewhere else.
Harrison, now on board for another album and tour, has been fundamental in pushing the band forward with getting more involved in collaborating with the song writing and main songwriter Bruce Soord has responded in kind, after all, if you have a Ferrari you don’t drive it two miles down the road to buy a loaf of bread do you?
Following on from ‘Your Wilderness’, this new album, again, is evolution rather than revolution, taking the trademark depth of the The Pineapple Thief and building on established motifs and sounds. ‘Dissolution’ is a darker album than its predecessor and that is reflected in the artwork and sound. There is only one song on here that could be considered an epic, although that shouldn’t put anyone off.
Bruce has the knack for putting plenty of hooks and sounds into the shorter songs and it’s his song writing that is so effective across the album and what makes it work. In fact, the opener Not Naming Any Namesopens in an incredibly low key way for an album starter and it sets the album’s stall out in it’s briefest 2 minute introduction. This is one of the darker and bleaker albums that Bruce has been involved in and the theme of Dissolution, from relationships, to the impact social media has on these things and the way it amplifies and polarises, them is evident throughout.
Try As I Might is a harder and darker track again, and the ever present Steve Kitch on keys and Jon Sykes on bass both pull together to create the pulsating dark undertow to the album. Threatening War is another fantastic track, one that I am sure will be fantastic live and, as throughout the album, Harrison’s drumming is peerless, while Bruce wrings every amount of emotion through the songs. Judging from the lyrics it would appear that he’s been through the mill a bit. The low key lo-fi mood continues with the short Pillar of Salt which leads into the 11 minute epic of White Mist, featuring guest guitar work from David Torn, it has an exciting experimental edge to it with some fantastic performances all round. This isn’t your typical prog epic, it builds and twists to its musical climax as guitars duel, electronics shimmer and ebb and flow and the beat of Harrison’s drums act as a counterpoint to Bruce’s vocals.
This is the sound of a band reborn and energised and, while the album has its dark moments and bleak lyrics, musically it is one of the best they have made and, like all the best albums, flows perfectly. No dipping in and out of tracks here, this is a journey, musically and lyrically and Bruce, again, has shown why The Pineapple Thief are one of the finest bands out there, and one who you must see live.
In fact, my only niggle with the whole ‘Dissolution’ album and tour is the fact that, on the first leg, they aren’t playing Bristol!
THE TANGENT, the progressive rock group led by Andy Tillison, will release their 10th studio album ‘Proxy’ on November 16th, 2018. Recorded during the band’s tour with Karmakanic in 2017/18, which saw them with more chances than normal to work together on the record – hotel writing sessions, van discussions, soundcheck ideas – all of which have allowed the band to make an album that is as organic as they have ever achieved since their formation 15 years ago.
Watch a trailer for the album here, featuring some snippets of brand new music
‘Proxy’ is now available to pre-order as limited CD digipak, 180g vinyl + CD (including several coloured vinyl versions) & as digital download here: https://the-tangent.lnk.to/Proxy
Andy Tillison comments: “Our belief is that Progressive Rock music is still a valid and viable musical form in 2018 and will continue to be so. Our band has always sought to take on board things from the present and add them to that magical mix. We don’t claim to be offering the FUTURE. We just claim to be offering one set of possibilities. Ours. Now.”
‘Proxy’ is a riot of juxtaposing styles, presented in a really direct manner and despite being firmly rooted in the stylistic traits of the Progressive Rock Genre takes some unexpected turnoffs and a major swerve. The albums kicks off with a trademark Tangent prog fantasia based around growling Hammonds, shrieking Synths, whirling guitars and sharp percussive bass – influences of ELP, Egg, Hatfield & the North, Caravan and Camel proudly worn on their sleeves. This 16-minute title track eventually becomes a protest song about the continuing wars that share their name with the song.
But this album features no overall concept. The second track is a sun-drenched Mediterranean fusion instrumental, more Chick Corea than Che Guevara. And the third track is referred to by the band as an attempt to find the missing link between Porcupine Tree and Jamiroquai. By the time we reach the centrepiece epic track ‘The Adulthood Lie’, the rulebook has been left behind and the band are trying to fix the car with whatever is at hand.
The Tangent came of age some time ago now. After 15 years with a constant presence on the periphery of the scene, this album is the next step on the road from a band who have painstakingly revered and recreated the past, with one eye on the future.
The album will be available as a limited CD digipak, Vinyl LP + CD & as digital download. The full track-listing is as follows:
1.Proxy
2.The Melting Andalusian Skies
3.A Case of Misplaced Optimism
4.The Adulthood Lie
5.Supper’s Off
6.Excerpt From “Exo-Oceans” (Bonus Track)
The album features the following players:
Andy Tillison – Vocals, Lyrics, Keyboards, Composer
Jonas Reingold (The Sea Within, Steve Hackett Band) – Bass Guitar
Theo Travis (Soft Machine, Travis-Fripp) – Sax & Flute
Luke Machin (Maschine, Francis Dunnery Band) – Guitar
Steve Roberts (ex Magenta, Godsticks) – Drums
With special guest: Goran Edman (Karmakanic) – Vocals
Having formed in Spring 2017 Nova Cascade have done remarkable work to get themselves known in prog circles quite quickly. With their debut album ‘Above All Else’ they have hit the ground running. Nova Cascade are made up of musicians from 3 different countries, Dave Hilborne (Vocals, Synths) Dave Fick (Bass) , Alessio Proietti (Guitars) , Heather Leslie (Violin), Charles Bramald (Flute) and David Anania (Drums). The road to this album is a story in itself, with different recording methods,including a phone, some very credible guest appearances and the swapping of files to get to the finished product. The band blurb will tell you that this album was recorded on a budget and the production is very homemade, but this should not distract in anyway as what you get is good raw performances and feel.
Let’s start with the artwork, the rather fetching and beautiful cover artwork was designed and drawn by one of my favourite geniuses Paul Dews of How Far To Hitchin fame. This gets the ‘Above All Else’ experience off to a good start, the illustration matches the feel of the album well. This is then added to with some great photography from Brooke Smith.
So onto the album, at 37 minutes, this is perfect for the style and feel of the album. I am not sure if there is a genre of prog call ambient prog , but if there was not there is now! At the right time and moment this is a wonderful relaxed album to chill out to. Designed to be played as a whole, each track effortlessly blends with the next to form a dreamy mixture of music. Mainly instrumental the album is punctuated with vocals, and when they do arrive the best comparison I can give is Talk Talk’s Mark Hollis , which given the ambient feel of the album works well.
The title track Above All Else opens the album and a fine track it is one of the vocal tracks the track sets the scene for the ambient feel, the instruments blend and weave together for a very nice feel. Continuum follows and introduces the drums, this really is a nice track, again lots going on which can be appreciated more on headphones. The tracks are very short (in the prog world) which sometime leaves you wanting more but that is no bad thing, just hit play again.Prophecyhas a Marillion type guitar led feel to the song, at the time of writing my favourite on the album. Hurtledbrings back vocals and the Talk Talk reference would be appropriate for this track. LO-FI, Epiphany, One Hundred & FourteenandImago all continue the ambient feel very synth heavy and all pretty glorious again a listen on headphones does it justice as sounds work their way around your head, the piano on One Hundred & Fourteen deserves their own mention. This is a great section of the album that lets you drift off. Swept Awayis the penultimate vocal track and is a more guitar drums and,in particular, bass guitar led track, probably the most upbeat track of the album but still fits in well with the overall feel of the album. The final instrumental is Icarus, maybe because the name of the track puts something in your head but the sweeping synths and melodies do feel like they would accompany flying. And finally we finish the album with one of the standout tracks Wilted, the vocals arriving just at the end delivered just right to end the journey.
‘Above All Else’ is a great debut album that will put Nova Cascade on the prog map so to speak, yes there are times when the production could be better but it never distracts and to the majority they would neither notice or care as the music outweighs this. Very interesting to see/hear what comes next.
Released 10th September 2018 on download/8th October 2018 on CD.
“I’ve concentrated on improving my songwriting over the last few years and as a result, I am really pleased with this new CD. Although my playing has a lot of space in the music, I’ve worked a lot harder on the arrangements and lyrics.
My goal is to have a CD that keeps the listener from beginning to end. ‘Roads Less Travelled’ reflects my belief in taking music somewhere new.”
So says legendary guitarist Martin Barre of his new solo album. Best-known as guitarist in Jethro Tull – one of the biggest selling prog bands of all time, Barre has developed his own distinctive style within the framework of Tull, and his instantly recognizable and original sound form the basis of this album. ‘Roads Less Travelled’ features 11 original tracks by Barre, which reflect the last 50 years of his esteemed musical career.
While all the songs showcase his exceptional electric guitar, acoustic guitar and mandolin playing, the Martin Barre Band also shine throughout. A long-time resident of Devon, Barre’s band features several local musicians :-
Dan Crisp (vocals), Alan Thompson (bass/fretless bass), Darby Todd (drums), Becca Langsford (vocals/backing vocals), Josiah J (Percussion/Hammond), Aaron Graham (drums), Alex Hart (vocals/backing vocals) and Buster Cottam (‘stand up’ bass).
The new album invokes a nostalgic 70’s sound that will resonate with people of a certain age and yet it feels really fresh too. Barre’s songwriting skills are evident on this really diverse collection of tracks from the hard rock opening of Lone Wolf through the edgy, Tull influenced, Out of Time(check out the stunning solo) to the scorching blues of Badcore Blues.
The overriding sound is that of Barre’s distinctive guitar and this guy is as good a player as they come. To many, his guitar playing was the definitive sound of Jethro Tull and his solo on Aqualung is frequently quoted as being one of the best of all time.
His supporting cast of vocalists aid and abet with fulsome aplomb, Dan Crisp’s vocals are soulful and hard edged, Becca Langsford gives a superb whiskey soaked edge to Badcore Blues and Alex Hart’s ethereal rendition of You Are An Angel is just heavenly.
This in album that you fall into like the comfiest of chairs, these songs are like old friends who have come to visit and share a dram with you on a cold night, in front of a roaring fire. On My Way brings Barre’s legendary guitar skills to the fore while Roads Less Travelled with it’s driving riff, pulsating rhythm section and superbly harmonised backing vocals is a classic hard rock track in the making, as is the swirling Hammond organ backed blues vibes of (This is) My Driving Song. Martin shows us his elegantly applied acoustic skills on Trinity and the album comes to a more than satisfactory close with the jazz/blues cool of Becca Langsford’s vocals on the ever so classy And The Band Played Only For Me, all superbly backed by Martin’s acoustic guitar and Josiah J’s Hammond.
Whether you’re a Tull fan, a fan of 70’s hard rock or someone who just loves music, this release should definitely be on your radar. Excellent songwriting combined with superb musicianship has given us that rare commodity, an album that appeals to the past, the present and, most likely, the future. Martin Barre is still a rare talent nearly 50 years after he first played a note with Jethro Tull.
