Scottish post-rock duo Midas Fall, who release their new album ‘Evaporate’ on 27th April, have shared a stunning animated video for ‘Glue’.
Directed and produced by Stefano Bertelli, with the set design by Riccardo Orlandi, the band describe the track as,’a song that exists in 4 parts and goes on a journey. Over the years time starts to blur the edges of the situation you are in up to the point that this becomes your normality and impossible to see an outside perspective. As the track unfolds the realisation is made and leads to further realisation of the difficulties associated with breaking free. Ultimately ending in chaos. The song gives a little nod to Ravels “Gaspard de la nuit” at the start before going in a more electronic direction, utilising sparseness, beats and synths.’
With this new album, Midas Fall have carved a distinctive and captivating sound, creating taut, shimmering soundscapes led by the hauntingly melancholic vocals of Elizabeth Heaton – a sound described as “powerful yet fragile, devastatingly beautiful and beautifully devastating” (The Founder Magazine).
Extremely emotive and vivid, ‘Evaporate’ is a deeply beautiful record – from the desperate, savage cacophony of ‘Bruise Pusher’ to the elegant ascension of ‘Sword to Shield’ – it conjures stunning soundscapes at every turn.
The album will be released worldwide by Monotreme Records on 27 April 2018 on CD and digital formats, as well as a limited pressing of 500 LPs on 180 g vinyl (200 black and 300 clear blue / black).
HAKEN are extremely pleased to announce the release of their first ever live album, titled ‘L-1VE’ and scheduled for release on June 22nd, 2018. Following the release of the bands much-acclaimed fourth studio album ‘Affinity’, they embarked upon their 10th anniversary tour across Europe & North America. Recorded and filmed on April 13th, 2017, at the legendary Melkweg venue on the Amsterdam stop of that tour, this represents the band’s first ever live document with tracks from across the bands discography.
“The release of official live material is a project that is long overdue and we know our existing fans have been crying out for this for some time now. Whilst we have filmed and recorded many shows in the past we have always felt there were elements of our shows that could be improved ‘visually’ before we documented and immortalised this for the world to see and that the timing for a live release never felt right for us. This is just our nature as creative people to be so extremely self-critical and constantly strive for perfection. It is largely due to the will of the people that the idea of this project became a reality. Both the band and the label were inundated with emails requesting a live release in some shape or form, and it was actually rather flattering, so giving the people what they wanted just felt like the right thing to do.”
‘L-1VE’ will be released as a 2CD/2DVD Digipak package & as digital download. The DVD will include 4 bonus tracks filmed at ProgPower USA 2016 that also includes Mike Portnoy’s cameo appearance on gong, as well as all of the official videos from the ‘Affinity’ album. The main show and the bonus material on the DVD are also mixed in 5.1 surround sound.
1.affinity.exe/Initiate
2.In Memoriam
3.1985
4.Red Giant
5.Aquamedley
6.As Death Embraces
7.Atlas Stone
8.Cockroach King
9.The Architect
10.The Endless Knot
11.Visions
DVD Bonus Material
1.Falling Back to Earth
2.Earthrise
3.Pareidolia
4.Crystallised
Also includes music videos for Initiate, Earthrise & Lapse
Artwork was once again produced by long-time collaborators Blacklake, who continued the love of 80’s culture that they demonstrated on artwork for ‘Affinity’. The live audio was mixed by Neal Morse & Winery Dogs alumni Jerry Guidroz.
The band have also revealed they have started work on their fifth studio album. They comment: “We’re currently getting our teeth stuck into the writing process for Album 5 and great ideas are forming and evolving as we speak. It’s still early days but there is a sense among us that Haken may take a darker path with this one. However, the playing field is still wide open and the direction this record takes could alter at any point. One thing is certain: We will endeavour to stick to our mandate of strong melodies and Killer riffs! ”
Bruce Soord, The Pineapple Thief’s composer, lyricist and driving force, has checked in from the studio with an update on the progress of the band’s new album, the follow up to 2016’s acclaimed Your Wilderness.
“After 5 intensive months of song writing and recording, the new The Pineapple Thief album is almost done! We’ve once again been joined by Gavin Harrison, but this time from day one. It’s been a real collaborative journey between the 4 of us writing and recording this record, with the songs taking on a life of their own. When everyone pulls in the same direction, amazing things can happen.”
Bruce also reveals more about Dissolution, the title of the forthcoming release ““The new album, will be out later this summer. Broadly speaking the title reflects the disintegration of relationships and the undoing of our social fabric. We’re living in a time when supposedly we are more connected than ever before, but, I personally am at my happiest when I unplug that connection.
Reflecting more on the creative process between the band members – Gavin Harrison, Jon Sykes & Steve Kitch, Soord explains “ I would come up with ideas, jamming them on a guitar with a rough vocal, but instead of locking myself away and finishing the demos like I usually do, I would send them to Gavin for him to play around with in his studio. Gavin has one of the best sounding drum rooms I have heard, and he can produce incredible sounding drum mixes. He would then lay down some drum ideas, chop things around, add some drum sections here and there before sending it back to me to take forward. It’s as close to having a jam in studio as you can get whilst being 200 miles apart! Jon would then lay down his bass from his studio and Steve would do his thing from his mastering studio in Devon. We are just settling down now to the do the final mixes. Gavin is mixing the drums, Steve and I are mixing the rest. I am definitely looking forward to having that celebratory beer when we send the masters away!”
Gavin Harrison adds “It’s been fantastic to collaborate with these guys again – especially as this time I’ve been involved from the ground up. It’s been a most inspiring effort and I think it will prove to be the best yet. The emotional investment that you place in an album is immense and we’re all excited about getting out there and playing these songs live. “
The Pineapple Thief have announced they will be taking Dissolution on the road starting in September 2018 which will include their biggest show to date at London’s prestigious Shepherds Bush Empire – tickets are on sale now and selling fast: http://www.pineapplethief.com/tour/
A little known fact is that UK based alternative rock band Shadowlight are the main reason you are now reading this review on a website called Progradar. I liked their 2012 release ‘Twilight Canvas’ that much that I really (and I mean REALLY) pushed it on social media as well as creating some Youtube videos for the tracks. All this really whetted my appetite to take my amateur music journalism a step further. This new album has been a long time coming and I was eagerly awaiting its arrival.
Suffice to say I have not been disappointed in any way, shape or form. James Hodkinson (guitar, vocals), Mark Wilson (keyboards, vocals) and Ed Williamson-Brown (bass) have delivered in spades and I must now have listened to ‘Stars Above The City’ over twenty times and it hasn’t lost any of its wonderful lustre.
This album is chock full of edgy, sharp-suited alternative rock with a thoughtful intelligence. Clever riffs with more than a touch of heaviness and some soaring guitar solos are joined by the traditional swirling Hammond keyboard sound to deliver insightful, intelligent and enjoyable music with a tip of the hat to such luminaries as Riverside and Porcupine Tree.
There’s a lovely nostalgic nod to ‘Twilight Canvas’ in the opening intro Adrenaline Bomb before the album gets going properly with the thumping riffs of Gravity. This new album is still full of what made the last one (and the ‘Winter’ EP) so good, especially the expertly harmonised vocals, but there’s a much heavier feel and a maturity to the band’s sound with its added complexity, dynamic, sharp-edge riffing and cool as you like solo.
The trio of Summerfade, Dusseldorf and Stars Above The Citytake the signature Shadowlight sound and mould and evolve it into something that is still connected but now has a sophisticated and perceptive intelligence and I could listen to that sound all day long. Captivating choruses and addictive melodies are key to this new direction but there’s also a grittiness and edginess to James Hodkinson’s guitar sound that gives it something else, the guitar led intro to the title track is a great example of this.
Things just keep getting better with November and Fractured, two songs that really showcase the superb keyboard skills of Mark Wilson, his ability to switch from the heights of swirling Hammond organs to the subtleties of a beautiful piano note is delightful. You find yourself being enveloped by the music, it’s soothing and involving qualities are prime to you feeling part of the album rather than a spectator.
The final song on the album, Unending, sees the band deliver their most progressive piece of music yet, coming in at just under twelves minutes of complex and intricate music with meaningful vocals and a pensive thoughtful feel. A contemplative and introspective work that holds your attention throughout and one where each of the musicians comes to the fore to deliver an outstanding song that, to me, is Shadowlight’s best yet and a worthy ending to this stellar album.
I know you could say I’m a bit prejudiced but this new album from Shadowlight is everything I hoped it would be and so much more as well. They say if it ain’t broke then don’t fix it but, what the band have done with ‘Stars Above The City’ is take what made ‘Twilight Canvas’ such a great debut album and enhance it in subtle ways to deliver a real progression of their music and something which can hold its head high in this crowded world of new music that we live in today.
Like a never ending musical production line staffed with working class heroes from the 50’s and 60’s, those folks at Chippy Records have released the fourth Sleeperman single of 2018 and, once again, it is a humour filled triumph of social commentary and the lives that normal people lead.
“Aged eight she was going to join the ballet, at 16 she went to Spain and shared a chalet, at 24 she’s got three kids from men she didn’t marry.”
The witty and pithy lyrics in Keeley Really seem to come from a well that never seems to run dry and the jovial, traditional music delivery adds a real down to earth feel to everything that these talented guys touch. John Hilton’s vocal delivery is almost spoken as well as sung and it adds a narrative feel to the song. Neil Scott’s jangly guitar sound echoes with hues of 50’s rock n’ roll with its Duane Eddy twang and Steve Skinner and Phil Sharp are the perfectly chilled rhythm section that glue everything together.
“She reads them stories every night, she brings her kids up right. Her shoulders tattooed with their names; Diesel, Magaluf and James.”
These guys just seem to get how I feel about music spot on every time, a real soundtrack for my generation.
As ever, with their faux 45rpm style, there’s a B-side and The Places That We Knew Before Are Not Those Places Anymore shows a more melancholy side to the band and the songwriting.
“Remember swimming naked in the ship canal because we’d seen it in a film…”
It’s a sepia tinged wistful look back at younger days when anything seemed possible and any ambition was attainable. As the saying goes, nostalgia isn’t what it used to be but the bitter sweet lyrics and music are delivered just about perfectly.
Sleeperman have done it again, this is becoming a series that is as addictive as anything that Sky, Amazon or Netflix can deliver and, if you haven’t already, come join us on this incredible ride.
London prog/post rock quartet Only Echoes Remain have today released emotional and heavy live single Monolith, their first since last summer’s acclaimed debut concept album ‘The Exigen’t, filmed live at their recent Chaos Theory show with Godspeed-collaborator thisquietarmy.
The band says “the new record definitely feels like a natural evolution for us. There’s a lot more riffs and some heavier sections, while keeping the delicate moments we’re known for, but then further developing the melodic interplay we started to explore in songs like Aurora last year. Monolith is almost the perfect transition between the records, as it has a feel of The Exigent about it yet our sound has clearly moved on from that – I think we learned a lot about each other musically while on the road last year and are really starting to make the most of that.”
We at Progradar thought that ‘The Exigent’ shined in a sky full of instrumental stars and glimmered brightly enough to be picked out from among the hundreds that shone on a daily basis.
Monolithtakes that wonderful post-rock feel of the first album and adds massive doses of crunching, monolithic guitar riffs that give the band’s music some welcome added bite and grit and should make their forthcoming new long player a definite force to be reckoned with. Intelligent and thoughtful instrumental music with enough energy, and power to appeal to a wide kaleidoscope of music fans.
When asked if the next record will also be a concept album, guitarist Arran Oakes said “while it won’t tell a full narrative like The Exigent did, there is a concept that ties the next record together, loosely covering the events and times leading Earth to the position where the Exigent mission became necessary, so on that level it’s a sort of prequel to the last album. It’s a lot more energetic than the last one though – even louder too, somehow!”
“We’re very excited about the next chapter for OER!”
Only Echoes Remain’s sophomore album will release in late 2018, meanwhile see their captivating live show:
13/4 – Urban Bar, London
8/5 – The Star Inn, Guildford
14/5 – The Exchange, Bristol (supporting Toundra)
16/6 – Portals Festival, London
/16/8 – ArcTanGent Festival, Bristol
KENTUCKY PROGGERS ALSO SHARE FIRST SINGLE ‘WE SMELL THE BLOOD’
Dream The Electric Sleep have announced details of an unheard ‘lost’ 2008 album ‘The Giants Newground’ which will be released on 18/05/18 via 7Hz Productions and shared the first single to be heard from the album We Smell The Blood.
Dream the Electric Sleep officially formed in 2009 but in 2008, Matt Page and Joey Waters decided to write and record an album together. It was the first time Page wrote the lyrics and took over the lead vocal position in a band, and the first time Page and Waters were the sole writers of a project. “After years of playing together, Joey and I were ready for something different… a new direction, and honestly at that time, a last attempt to find a way forward together as a band. We had played with so many different people and never found a line up that captured what we wanted so this was it! We were attempting to reconceive our efforts together and this album represented that departure” explains Page.
When the album was completed in 2008, it had a limited regional release and it happened to land in the hands of bassist and songwriter, Chris Tackett. He was living in Huntington, West Virginia at the time but had just accepted an art directorship at a company in Lexington, Kentucky where Page and Waters lived. After Tackett heard the album, he was impressed and intrigued. Through a mutual friend, he found out Page and Waters were looking for a bass player. Waters and Tackett set up try out rehearsal and after the first song, Page and Waters were sold. Chris Tackett would be the new bass player on this new journey. Page, Waters, and Tackett had no band name at that point and rehearsed the songs from the recently released album to start playing some regional shows. It didn’t take long for the trio to begin writing new material. That new material became the band’s first official release, ‘Lost and Gone Forever’.
Dream the Electric Sleep never played songs from that first unofficial album that brought them together.
Discussing the looming presence of the lost release, Matt Page explained: “Over the years I thought about that album a lot. It haunted me a bit. The album meant so much to me on a personal level but I knew we had to move forward, not return to something old. In the summer of 2017 I realized it had almost been 10 years since that album came to fruition. It occurred to me it would be a great time to revisit the material and put together a 10th year anniversary release. It’s a way for the band to reflect on our origin and share that with all those who have supported us over the last decade. That album was the springboard for what would become Dream the Electric Sleep.”
The album titled, ‘The Giants’ Newground’, was revisited, re-tracking some guitars, bass, vocals, and drums, mixed with many of the original takes from 2008.
“We wanted to update the album some but leave the original feel. We worked over the summer of 2017 and are finally ready to release this 10-year anniversary album! It feels good knowing this album can go into the world and become part of the DTES catalogue where it belongs. I felt like it was a homeless album for so long and now it will have a place to live. I can finally move on from it knowing it is out in the world.”
‘The Giants’ Newground‘ is based on a series of Appalachian Jack tales that Page’s mother read to him when he was young. “They were these dark, old, mysterious stories that had a deep impact on my imagination. The book that we had in our house was old and falling apart and had been in the family for a long time. The stories always revolved around the main character, Jack, and his constant wandering and leaving. That idea of drifting from place to place, living on the edge, constantly on the run, felt familiar to me when I was in my mid 20’s and it’s the reason I decided to use those stories as inspiration to write an album. It’s a modern re-telling of Jacks search for home, something I too was searching for. A place to find shelter from the storm of my life and mind.”
‘The Giants’ Newground’ will be released worldwide on May 18th 2018 via 7Hz Productions (ADA) and will be a precursor to a brand new album being presently recorded and due for release in 2019.
SCREENING AND Q&A HOSTED BY EDITH BOWMAN, ATTENDED BY JACK’S FAMILY & MUSICIANS WHO PERFORMED AT THE TRIBUTE, INCLUDING MD NITIN SAWHNEY, EVENT TAKES PLACE ON WHAT WOULD HAVE BEEN JACK’S 75TH BIRTHDAY.
On the first anniversary of Jack Bruce’s passing, a star-studded line up of world class musicians performed a moving musical tribute to the Scottish legend at The Roundhouse in London.
The tribute concert, musically directed by Nitin Sawhney, featured Jack’s Cream bandmate Ginger Baker, Roxy Music’s Phil Manzanera, Jethro Tull’s Ian Anderson, Joss Stone, Level 42’s Mark King, Living Colour’s Vernon Reid, Uli Jon Roth, Hugh Cornwell and many more. This incredible line-up delighted the capacity audience with a stunning selection of Bruce’s songs spanning his entire career, from the pre-Cream days to his final album ‘Silver Rails’.
The tribute concert was recorded for posterity and is presented in HD with surround sound audio. This unique recording will receive its debut screening in the luxurious surroundings of the Curzon Mayfair on 14th May 2018. This is a particularly auspicious date, as it would have marked Jack’s 75th Birthday.
This exclusive screening will be followed by a Q&A hosted by Edith Bowman. This will offer audience members a unique opportunity to quiz many of the original tribute’s contributors, including music director Nitin Sawhney, Phil Manzanera, Ian Anderson, Mark King and members of Bruce’s family, about this wonderful concert.
Nitin Sawhney says: “I felt deeply honoured when Natasha and Margrit asked me to musically direct this wonderful tribute show to Jack Bruce’s fantastic body of work. Directing such a range of musical legends, who all came together to reproduce and perform the highlights of Jack’s work, was an enormously inspirational experience. Everyone was determined to rise to the occasion and bring their own special talents to make this an unforgettable night and a fitting response to one of rock’s greatest songwriters and icons. Thank you to all of Jack’s amazing family for the privilege of bringing such an important evening to life.”
This tribute concert is a fitting and lasting memory of the musical repertoire of which Jack was such a part. And of the man himself; often outspoken, volatile and impassioned, he retained the humble warmth and intelligence which marked him as one of the great musical personalities of our time.
VIP TICKETS
A very limited number of VIP tickets are on sale via:
VIP Ticket includes a Royal Box seat, access to the Private VIP Reception, glass of bubbly, exclusive Jack Bruce merchandise package including tote bag, personalised event T-shirt, limited edition concert programme, and 2 x AAA passes for the after party raffle draw.
There are currently no further plans to release the footage, so this screening is the only occasion at which fans can watch this incredible live concert recording.
All profits from the screening will go to EACH – East Anglia’s Children’s Hospices. EACH were also the beneficiaries of the original tribute concert, which raised them over £35,000.
JACK BRUCE ‘SUNSHINE OF YOUR LOVE’ TRIBUTE SCREENING
It’s been a long time coming, but former Mansun frontman Paul Draper reappeared recently onto the music scene with a new album called ‘Spooky Action’ (wonder where he found that title…..) and a fresh young touring band.
This year, on it’s the 21st anniversary of Mansun’s debut long player, ‘Attack of the Grey Lantern’ and, ahead of K Scope preparing to release it in a remastered and expanded (and 5.1, oh be still my beating heart) deluxe set, Mr Draper set off on a UK tour performing two sets.
The first made up entirely of solo ‘Spooky Action’ material, and the second being ‘Attack…’, performed in its entirety for the first time ever.
Now, I know the gig was back in February, and we are now into April, but in my defence I have moved to a new house and so when I looked on the calendar and arranged a date to complete (and be out of the flat complete with all our wordlies boxed up and ready for the removal van) I had agreed Feb 22nd.
So, a gig I’ve been waiting to see since ‘Attack…’ first hit my stereo back at the fag end of Britpop over 20 years ago (and it’s astonishing how many influential albums that I consider contemporary are getting the 20th and beyond anniversary, ‘OK Computer’, ‘Urban Hymns’, ‘His and Hers’, ‘Be Here Now’, ‘Boys for Pele’, this was, amongst many others, the sound of my adolescence and dear reader it makes me feel old) and yet I needed to have every boxed up and ready to go without any stress.
So I did what any sensible human would do, and go the gig, but drive – best of both worlds and in hindsight the right move, as it took me back 20 years and the stress of the moment was relieved.
If anyone here doesn’t believe in the healing power of music, then my friends you’re missing out.
Now the gig had been moved from the Bierkeller which shut down in conflicting circumstances at the start of February, luckily SWX round the corner is a nicer and more modern version, with an excellent sound system, and from where we were we had an excellent view of the stage, so as an aside, if you see anyone promoted here and wonder if it’s worth going, it’s a Yes from me (& it’s very close to town and about 20 minutes’ walk from Temple Meads – see, who needs trip advisor?)
Unfortunately, I didn’t catch the name of the support act, who was a local lad with a guitar and a penchant for checked shirts and listening to Nick Drake and Bob Dylan, it was pleasant enough and I’m sure his Mum enjoyed it, but it didn’t set the world alight, and his acoustic guitar sound was lost at points in the venue.
Then came the part we were waiting for, Mansun always exuded an aura of mystery and a certain disconnect that set about as far away from the Britpop scene that they were lumped in with, like a square peg in a round hole, and it was great to see Paul Draper, slightly older, bearded and full of chat between songs and with plenty of stage presence.
Even better, he still has the power in his voice, and an incredibly tight and talented young band around him, with Ben Sink on guitar doing a lot of the heavy lifting, allowing Draper to focus on the singing and being the frontman, he has always been.
I know the audience were there for ‘Attack…‘ but the ‘Spooky Action’ material really holds its own with the gig opening as the album does with the superb Don’t Poke the Bear, and songs like Grey House, Jealousy is a Powerful Emotion, Friends Make the Worst Enemies and Who’s Wearing the Trousers all went down a storm.
Then, after a brief interval, the band came back on stage with a nod from Paul thanking his ‘support act’ and then, the rousing strings of the best James Bond theme there never was The Chad Who Loved Me came ringing out, and the auditorium was lost in a magical musical time warp, as the classics like Wide Open Space, Stripper Vicar, the legendary Taxloss,Dark Mavis and the rest all came out in a blaze of glory.
Don’t get me wrong, this is no nostalgia act, as the first half proved, and as a band who were always slightly out of time, Mansun’s tunes have proved timeless, as this album still sounds fresh, exciting and contemporary even 21 years later.
I went into this show not knowing whether it would be worth my money (&yes dear reader – this is one of those rare occurrences where I review something I paid for!) and it was worth every penny.
During the gig Paul Draper said he would back soon, performing ‘Six’ in it’s entirety – take all of my money, now!!!
Welcome to the fourth edition of The Wallet Emptier’s Round-Up and this time we have music from The C:Live Collective, Project Patchwork, Syzygy, Phi, Marygold and Pinski for you to check out…
The C:Live Collective – The Age of Insanity
Twelfth Night alumni Clive Mitten’s first foray into recording new music for 30 years has produced ‘The Age of Insanity’, the first of a series of linked releases from the band in 2018. At its heart is Clive’s new hour long four-part opus, The Fifth Estate, which will reappear in the autumn in its full vocal version. Here it comprises a fully revised vocal version of We Are Sane (Part One)and specially arranged instrumental mixes of Parts Two to Four. The CD is completed by a new version of This City set in London.
A powerful vilification of the internet and social media (The Fifth Estate), Clive has collected some impressive musicians around him and that can be seen in the well crafted tracks on the album. Mark Spencer’s expressive vocals add to the atmospheric appeal of the first song, there’s definitely a feeling of Big Brother is watching you running through this track, almost a feeling of dystopia.
The instrumentals are finely constructed, haunting pieces of music where the musician’s requisite skills are used to very good effect, all the while Clive orchestrating every move. I was very impressed at how the whole album seemed to flow perfectly with each track seguing smoothly into the next. The final song This City Is London closes things out with an almost patriotic feel, its drum and bass origins actually working well with the rest of the album.
All in all, it all bodes well for what is to come next.
Rating – 77/100
Released 1st March 2018
Favourite Track – The very impressive The Fifth Estate Part One.
Project: Patchwork,The studio project of German musicians Gerd Albers and Peter Koll, release their second album ‘ReFlection’ three years after the debut. Dealing with personal experiences and addressing critical questions of currents events in society and politics, it is powerful statement of intent.
A total of 10 singers and 20 musicians share duties on this impressive release but at no time does it feel disjointed or over-ambitious. With artists of the calibre of Marek Arnold, John Mitchell, Markus Steffen and Martin Schnella it was always going to have a good pedigree.
Powerful guitars and yet a strong emphasis on melodies mean this release is chock full of hook lines and impressive, emotive music with new surprises at every turn. This is a fine release that immerses you on an extraordinary musical journey.
Rating – 80/100
Released 16th March 2018
Favourite Track – The inventive brilliance of Yearning For Confraternity.
In astronomy, a syzygy is a (usually) straight-line configuration of three or more celestial bodies in a gravitational system.
In music SYZYGY is a progressive rock trio from Gainesville, Florida, consisting of guitarist/vocalist Tom Nelly, bassist KD McClellan, and drummer Dan Landis. ‘Misconnected Man’ is their debut release and is full of complex and yet memorable compositions that are madder than a badger poked with a stick but in a very, very good way!
Listening to the album is akin to a musical rollercoaster ride of massive proportions, there literally is no let-up to the rapid fire musical delivery, it isn’t for the faint hearted but, dig in and persevere for what you do get is well worth the effort.
They call it progressive rock but it’s more acid jazz infused art rock with some King Crimson thrown in for good measure, just because they could! Get your wallets ready and lay out for one of the most original and inventive releases you’ll hear in quite a while.
Rating – 77/100
Released 31st October 2018
Favourite Track – The unabridged lunacy of Misconnected Man.
‘Cycles’ is Austrian Prog-Metal outfit PHI’s latest release and sees the band finally attain what they call The Golden Ratio, the perfect proportion between rock power and artistic aspiration and it was an accident, cutting his finger in his role as an amateur chef, that led him in the new direction that finally produced this golden ratio.
A songwriting process straight from head to paper, no filters as main man Markus Bratusa couldn’t play his guitar, has delivered six involving and powerful compositions with maturity and gravitas. Songs that are emotionally bold and honest and yet mightily potent, the guitar sound is as heavy a one as you will hear this side of early Sabbath, the new album has everything.
‘Cycles’ displays a grandiose vision and one that this impressive band carry off with style and aplomb and all on an epic bombastic and flamboyant scale.
Rating – 79/100
Released 23rd March 2018.
Favourite Track – The utter bombast of Blackened Rivers.
Immaculately constructed classic progressive rock, ‘One Light Year’ is Italian band Marygold at their absolute best. Formed in Verona in 1994, this collection of virtuoso performers had not released anything since 2005 but had opened the well respected Verona Progfest in 2007.
A collection of songs to bewitch and beguile lovers of classic and more modern progressive styles, it has that eccentricity that Italian prog music is known for and is an exciting and immersive listen. Excellent melodies and intricate song structures combine across all seven of the inventive tracks.
Let the intricate guitar plying, the expansive rhythm section and the eloquent vocals take you on an enjoyable musical journey, one with a definite Italian flavour and one that is all the better for it.
Cologne based outfit Pinski’s debut album is an intriguing proposition. On the face of it, it appears to be a straightforward hard rock album with some pretty impressive riffing and the power of Insa Reichwein’s (aka. Pinski) soulful vocals but, dig deeper and you will find a record full of complex compositions with intelligent and thoughtful lyrics. Take the reproachful anger of Society and follow it up with the hopeful tone of Light Calling and you will begin to see Insa’s view of the world.
However there’s no getting away from the thunderous guitar work of Ian Alexander Griffiths who adds a real metal/hard rock edge to the songs. The rhythm section of Christopher Streidt (bass) and Stephan Schöpe (drums) lays a really vibrant foundation for Insa’s dynamic voice and distorted acoustic riffs, she really gives her all through every song.
A real discovery for me, ‘Sound The Alarm’ is a collection of tracks that will have you on the edge of your seat from start to finish.
Rating – 81/100
Released 29th April 2018.
Favourite Track – The sonic boom of title track Sound The Alarm.
Order the CD direct from the band at the link below:
