Review – Mothertongue – Where The Moonlight Snows by Tom Slatter

Mothertongue  Mothertongue Mothertongue  Mothertongue Mothertongue Mothertongue!

This is great. A big dollop of proper pop. A slice of singalong hooks, followed by the rest of the cake. The earworms you didn’t know you needed until they wiggled down your eustachian tube and wrapped their little bodies round your cochlea. Your new favourite album.

Bad Elephant Music might be a progressive-rock-adjacent label but this is not prog. Sure, there’s the occasional change in time signature and the combining of a few different genres, but nothing of the 1970’s prog world here. This is a song of short, ‘proper’ songs.

Which is not to say it’s conventional, or obvious. Just that it ain’t prog.

I have to declare two conflicts of interest. One is that my music is released via the same label as this album. The other is that I am already a massive Mothertongue fan. I’m not pretending to be unbiased with this review. Ever since I heard the opening lines of their first album ‘Unsongs’ I was in love.

‘I’ll work the pedals and the devil can steer, things are gonna change, gonna change round here….’

Isn’t that a perfect lyric?

I interviewed two of the Mothertongue boys for my now defunct podcast ( https://soundcloud.com/tomslatter-310392094/the-sunday-bootleg-ep43-mothertongue-fodder-for-the-slander-cannon ) last year when they were putting the finishing touches to this album and they gave me a little bit of a low down on ‘Where the Moonlight Snows’.

Where ‘Unsongs’ was written across different sessions and several years, ‘Where the Moonlight Snows’ was a recorded as one project. Where part of the charm and brilliance of ‘Unsongs’ is that it sometimes has the whole band throwing their kitchen sinks at the listener at the same time, this a more crafted affair. The band have really thought about arrangements here.

Just as I typed that, the song Ofelia, playing in my headphones, got to a part about 4:20 in where a vocal countermelody joins in, along with some drums and high pitched arpeggios in the right hand speaker. You get the impression, with little moments like that, that Mothertongue have really spent a hell of a lot of time making this thing perfect.

One thing I also learned from interviewing them is that the band has a UBS stick of ideas that makes its way around the band, being added to and mined for songwriting ideas. There are sections of songs here that have been hanging around for ages, waiting to be finished, right up against what I presume to be newly minted moments. I couldn’t tell you which is which, though I know it’s true. The finished songs are seamless.

What does it sound like? There’s plenty of English rock song here. I’m not sure of the band’s influences, but it reminds me of the indie rock that I loved in the 90s. That sensibility certainly seems to form the base of the band’s songwriting, but you can add to that moments of Americana, and the sort of string and trumpet playing that wouldn’t be out of place in arrangements of the Great American songbook.

There are three guitar players in the band, a trumpet player and a great rhythm section (not to mention great flute playing and perfectly adequate keyboard playing from guest musicians) and yet never once do things go latter-day Iron Maiden. You’re more likely to get a tasteful bit of delay-laced picking, minimal bass and sparse rhythm guitar than you are to get a wall of powerchords. I swear there are only a few places on the album where the whole band play together at the same time, but when they do it properly rocks.

What are the songs about? I have no idea, to be honest. I don’t think that’s necessarily a sensible question. What you get with Mothertongue is a relentless cavalcade of bizarre imagery, surreal semi-rants and words that you never expected to hear in the same sentence.

‘I climbed out of the creature tree to see myself what I could see.. it’s getting weird as a wasp in a beehive.’

‘Beware of the dog-headed moon’s lunar snare’

‘Dream a dream I did, As a young toothless kid down a twisted road where the river flowed upstream.’

I pretty much love every line on this. I haven’t given a second thought to what the lyrics might be about. Because meaning in popular music doesn’t come primarily from the lyrics, they’re just one element along with hook and groove and melody and arrangement.

(Photo by StudioStead Photography)

And when you put all those things together, what do you get? You get a collection of songs you can loose yourself in, to singalong to, to rock out to, to be slightly thrown when – as The Bullet has just done in my earphones – an unexpected synth line and fuzzy guitar suddenly takes you down a path you weren’t expecting.

Part of the charm of Mothertongue’s first album was it sometimes it really rocked out, but in between those rock songs it would throw something like Shango at you, which had no guitar on it at all, and was all about the vocals and horns. That inventiveness is just as present on ‘Where the Moonlight Snows’, thought it is fair to say this album has fewer out and out rocky moments than it’s predecessor.

What it does have is hooks. Armfuls and bagfuls of hooks and tunes and songs that you really need in your life.

Highlights for me? Blue Wicked Heart, Shipwreck Song, Ofelia, Earthbound

And the rest. It’s all a highlight. It’s Mothertongue.

Mothertongue.

Mothertongue Mothergtongue Mothertongue Mothertongue Mothertongue!

Released 23rd March 2018

Order ‘Where The Moonlight Snows’ from Bad Elephant at bandcamp here

 

Review – Downriver Dead Men Go – Departures – by Kevin Thompson

The man called Gerrit rounded the corner, his earphones mingling the noises from the factory to his left with the music on his mp3 player, whilst the lost and lonesome dragged through another evening shift on minimum wage to keep the corporate wolf from the council house door. Under-appreciated he mused, he couldn’t, wouldn’t want to do their job.

His gait slowed as string like arrangements filtered into his ears, the pavement glistening, umber under the old street lamps and the damp air leaving a moist layer on the paving stones. The fog had crept in and choked the visibility down to a couple of hundred yards as he turned to stare across the cobbled street and the boarded up building opposite, hunched in the dark like a homeless giant huddled against the cold night air.

Gerrit Koekebakker pulled his sagging coat collar closer and his hat down in a futile attempt at shutting out the cold, then he stepped on to the cobbles and crossed to the old club. Fading, crinkled pictures in rusting frames, telling of  faded stories from the past he had once been part of. He stared at them momentarily, reached into his coat pocket and removed his flat keys, pressing them firmly against the edge of one of the frames until it popped open fractionally and he could remove the photo. He stared at the curled edge photo for a second. She was in the picture serving at a table, his waitress.

Lamentation had been his only friend when he had lost her.

He took the key from his pocket, unlocked the door, stepped into the dank, dark entrance and secured the door behind him. Using the light from his phone he found and flicked the fuse box switch. The lights fluttered on and he pushed through the musty red velvet curtain to reveal the club interior. It was two years since the band had played here, the club closing shortly after the last gig. It hadn’t changed in here though the world outside had moved on. His memory ran footage of the band up on stage, familiar faces mingling with newer ones in the audience. Things had seemed on the up when they left that night, he’d bagged the girl he’d fancied for some time and the band were gaining interest from promoters and labels.

Funny how it can all turn in an instant, a strummed guitar picked up the story.

He’d seen the waitress home with a promise to call the next day, returning to the place he shared with his Mother only to find an ambulance outside, lights flashing.

 What would he do without her, his Mother had always been there for him, he hadn’t pictured her leaving. Distraught he stumbled through his emotions over the following weeks, haunting melodies playing in his head. Shutting out the empathy and rejecting company, he remained in the house leafing through old photos, solace in a bottle as he tried to fill the emptiness inside, the sounds of sorrowful guitar and keys mixing with sombre bass and drums intensifying from the stereo’s speakers, trying to crush the misery. He shunned his band-mates and the waitress. The club manager left messages terminating their residency with regret due to closure, one thing after another. The band fractured without him, going their separate ways to try and earn a crust.

 Dropping the curtain behind him, he wove his way through the booths toward the dance floor as the last few guitar chords faded. With the bar to his left he stood on the dusty wooden floor before stepping on to the stage and turning to look around the room.

The waitress. He never thought he was in with a chance, always some big-time money boys around handing out fat tips, expecting repayment with interest. He was a jobbing  musician, living with his Mother, what could he offer. But slowly over the weeks he’d watched her long legs in silk hose strut paths through the smoke infested punters, dodging the groping hands and lewd offers, always smiling, her lips the colour of cherries, and blonde curls of hair bouncing and floating as she turned and shimmied the shuttles between bar and tables, navigating trays of drinks to arrive unspilled. She would  flash the ruby smile and he was entranced with her laughing blue eyes, just one night would be enough.

 The night he walked her home she told him how pleased she was that he had finally spoken to her and asked her out, she had been waiting. She had been there some days as they rehearsed, pausing to sway to the languid keyboards and echoing guitar creating ripples of  notes through the air, sometimes she would seem miles away, her body slowly dancing, shut off from everything around her and lost in the music…….How could he take her from being so happy only to make her the Loneliest Of Creatures.

Thoughts of the waitress made him smile wistfully and he slowly shook his head as the track rose on his plaintive vocals, the music turning heavier and distorting into the final keys from Remco den Hollander.

The next track plunged from his pocket and into his ears with a burst of heavy fuzzed guitar-work from Michel Varkivesser and Remco’s keyboards, Manuel Renaud’s drums bouncing vigorously alongside the bass of Fernandez Burton, before swirling into an echoing key loop and his voice began to sing about the Prison Walls he had built around himself…

Surrounding himself with a blanket of darkness trapped behind bars of his own making, he’d existed, barely, not considering the future or making decisions. There has to come a point of balance from which you start to return, or disappear. He resolved then, no more misery, things would be like before. It wouldn’t be easy but as the music strode out in a vote of confidence, he opened the curtains allowing the light to flow like liquid gold over the interior of the room. He couldn’t keep this place in darkness like a mausoleum any longer, it was his Home.

 There was a noise. He pulled out the earphones as thunder and lightening rolled overhead outside and he could hear rainfall on the roof, accompanied by slow dripping into the bucket across the room. That would be fixed. He pondered on the quiet in the room and pushed the phones back in his ears, dismissing the air of loneliness. The most deafening screams were those of silence.

He had been at the stage where he’d wished someone would take this life away from him, the times he lost control during his period of mourning.

 A hopeful guitar solo rose from the ear-bud speakers.

There had been a lot of Uncertainty to deal with, at times it felt he was taking one step forwards and two back towards the place where he had longed for seclusion. The darker moments of music echoing his moods but glimmers of hope being punched through by the drumbeats and guitar soloing as the long rebuild of his life began to piece together.

 He’d contacted the band members, understandably there were Departures,a couple having made their own paths, but some of the old gang were still interested and they could audition new members. Where there had been a void of black and a writhing kaleidoscope of shadows, the jigsaw of his shattered soul that had promised fear forever more, began to free itself  like a bird released.

Gerrit reminisced how he and Fernandez had recruited Michel to flesh out the guitar sound giving it a heavier edge and to provide backing vocals. They brought Remco and Manuel into the fold and whilst retaining the core sound of the band, impressed their own bass and drum styles into the music, as rehearsals and recording began with new found zest.

As the album tracks formed, the addition of guests Steen Gees Christensen playing duduk, and backing vocals from Inge den Hollander added different flavours to the mix, with spoken words from Joanne Platts highlighting the passages.

Confidence rebuilding there was one more matter to take care of. He thought she would have found someone else, but those he asked advised she was still single. He needed to see the smiling eyes and  laughing lips on that Familiar Face. With trepidation and sweaty palms he arrived at her house. He’d hurt her, would she turn the key and let him in?

 He knocked on the door, it swung open and there stood the waitress  just as he remembered, the sunshine to his rain. With no remonstration and the sparkle in those blue eyes re-ignited, she flung her arms around him and kissed him deeply, it was going to be ok.

 And so it was, his smile broadened as he sat on the edge of the stage and thought of the upcoming wedding, To Have And To Hold. He hoped his parents were looking down on him and he was making them proud.

And then there was the club. He had bought it using the monies left by his wonderful Mum and the savings Dad had put away which she had never spent, saving it for him to help when she had gone.

He’d best get going or he would be late for band practice. One last look round the room as it was, the builders would start the refurbishment work in the morning. Within a few weeks all would be transformed, a new look interior and a familiar band in residence for the grand re-opening.

He made his way out on to the street and locked the door. The rain had stopped and there was an added spring to his step as he disappeared round the corner.

Whilst the line up has altered, the sound from the last album remains but with an added edge. I enthused about the first album ‘Tides’ and still love it, so it was a real pleasure reviewing this sophomore offering that more than matches it. What influenced me reviewing the last album has inspired me again and rather than a straight track by track review of ‘Departures’, I felt the best way to do this was extend the story.

Those with a keen ear will notice references to the lyrics woven throughout the review and the musicianship on ‘Departures’ is as fine a production as you could wish, oozing with slick, languid rhythms and blossoming crescendos. If you liked ‘Tides’ then ‘Departures’ is a must buy. I have still to see Downriver Dead Men Go live but who knows I may stumble into a hazily lit, down-town bar someday and find them on stage. I hope so.

Released 8th March 2018

Order in the UK from FREIA Music UK here

Order in Europe/ROW from FREIA Music here:

http://www.fmls.biz/product/downriver-dead-men-go-departures-cd/

 

TESSERACT PREMIERE VIDEO FOR THE NEW SINGLE “KING”

Ahead of the release of TesseracT’s highly anticipated new studio album Sonder the band have revealed their first official video, for their new single “King”.

The emotive and viscerally challenging clip, was directed by Kyle Kadow & Steven Cleavland and shot in a snowy Wisconsin following a brutal storm, which all added to the atmospheric footage as bassist Amos Williams explains “We have been very lucky to work with two cinematographers of such vision and quality as Kyle and Steven. We gave them free reign with the creation of the first story board. They chose to explore the theme of claustrophobia and how fear can control our lives. Using a luminary figure as a beacon of hope and escape for the characters.”

Listen to ‘KING’ here: https://www.tesseractband.co.uk/

Lyricist and vocalist Daniel Tompkins expands on the song’s concept by saying “Far too often we find ourselves lead into conflict and inner turmoil. Life is surely a battle, history has a bad habit of repeating itself and when living with the constraints of an onerous life it’s easy to overlook the greatest gift we’ve ever received: life itself”.

onder due to be released through Kscope on 20th April, adds significant firepower to the band’s arsenal, blending the harsh abrasiveness of One (2011) and progressive ethereal elements of Altered State (2013) with the accessibility of Polaris (2015)Sonder is streamlined, honest and direct with all the trademark TesseracT dreamy atmospherics and bending grooves. Sonder was recorded in the UK at 4D Sounds, Celestial Sounds and Project Studios, engineered by the band and Aiden O’Brien with mastering by Acle Kahney, and cover artwork designed by Amos Williams.

Sonder will be released on CD / 2CD – featuring binaural album bonus disc / black LP / Crystal Clear vinyl LP / picture disc (exclusive to the band’s webstores) and digitally (with digital album pre-order receiving “Luminary” & “King” as an instant downloads) and is available to pre order HERE

TesseracT are gearing up to begin their worldwide Sonder Tour in North America in April, with summer festivals across Europe before hitting stages in Europe towards the end of the year.

Ticket details for all shows can be found on  http://tesseractband.co.uk/

Sonder 2018 Tour Dates

North America w/ Plini & Astronoid 

Apr-19                     Boston, MA – Paradise Rock Club

Apr-20                     Philadelphia, PA – TLA

Apr-21                     Baltimore, MD – Baltimore Sound Stage

Apr-22                     Greensboro, NC – Arizona Pete’s

Apr-24                     Tampa, FL – Orpheum

Apr-25                     Atlanta, GA – Masquerade

Apr-27                     Dallas, TX – Gas Monkey Bar & Grill

Apr-28                     Houston, TX – White Oak Music Hall

Apr-29                     San Antonio, TX – Alamo City Music Hall

May-01                    Albuquerque, NM – Sunshine Theater

May-02                    Phoenix, AZ – Club Red

May-03                    Los Angeles, CA – Regent

May-04                    San Diego, CA – House of Blues

May-05                    Berkeley, CA – The UC Theatre

May-07                    Portland, OR – Hawthorne Theatre

May-08                    Seattle, WA – El Corazon

May-09                    Vancouver, BC – Rickshaw Theater

May-11                    Edmonton, AB – Starlite

May-12                    Calgary, AB – Marquee

May-14                    Salt Lake City, UT – The Complex

May-15                    Denver, CO – Summit

May-16                    Lawrence, KS – Granada

May-18                    Minneapolis, MN – Skyway

May-19                    Chicago, IL – Metro

May-20                    Detroit, MI – Majestic

May-22                    Toronto, ON – Opera House

May-23                    Montreal, QC – Club Soda

May-24                    New York, NY – Irving Plaza

 

EUROPEAN DATES W/ Between The Buried & Me + Plini

Nov-09                    DE – Cologne, Live Music Hall

Nov-10                    NL – Nijmegen, Doornroosje

Nov-11                    BE – Vosselaar, Biebob

Nov-12                    FR – Paris, Le Trabendo

Nov-13                    DE – Aschaffenburg, Colos-Saal

Nov-14                    DE – Hamburg, Gruenspan

Nov-15                    DK – Copenhagen, Pumpehuset

Nov-16                    NO – Oslo, Parkteatret

Nov-17                    SE – Stockholm, Kägelbanan

Nov-19                    DE – Berlin, Lido

Nov-20                    DE – Stuttgart, Im Wizemann

Nov-21                    AT – Vienna, Flex

Nov-22                    DE – Munich, Backstage

Nov-23                    CH – Aarau, Kiff

Nov-24                    IT – Parma, Campus Industry

Nov-25                    LU – Esch, Rockhal

More dates to be announced ..

Summer Festivals:

26/05/18 – CH, Monthey – Irreversible Festival (http://www.irreversiblefestival.ch)

08/06/18 – UK, Donington, Download Festival

22-24/06/18 – BE, Dessel, Graspop Festival

22-24/06/18 – FR – Clisson – Hellfest (https://www.hellfest.fr )

22 – 28/07/2018 – SI – Tolmin – Metal Days Festival (http://www.metaldays.net)

28-30/06/18 – ESP, Madrid, Caja Magica, Download Festival

15/07/18 – SWE, Gavle, Gefle Festival (http://www.geflemetalfestival.se/

(photo credit: Steve Brown www.stevebrowncreative.com )

TesseracT are:

Daniel Tompkins – vocals

Amos Williams – bass

Acle Kahney – guitar

James Monteith – guitar

Jay Postones – drums

 

LUNATIC SOUL ANNOUNCES NEW ALBUM ‘UNDER THE FRAGMENTED SKY’ AS THE FOLLOW UP TO 2017’S EMOTIONAL OPUS ‘FRACTURED’ WITH A TEASER VIDEO

MARKING THE 10th ANNIVERSARY OF THE SOLO PROJECT FROM RIVERSIDE’S CREATIVE FORCE 

Lunatic Soul is Mariusz Duda, the talented creator, singer and multi-instrumentalist behind some of the finest and most captivating progressive music coming from Europe, including his output on UK label Kscope and with Poland’s shooting stars Riverside. Duda is now releasing his sixth studio album, the companion to 2017’s ‘Fractured’ and the pinnacle of the first decade of Lunatic Soul.

Following on from last year’s material, which covered content about grieving, hope and a fractured society, ‘Under the Fragmented Sky’ rebuilds Lunatic Soul as we know it, with dark and haunting atmospheres coming to the forefront, taking its name from the lyrics of the 12-minute epic “A Thousand Shards of Heaven” from Fractured. Duda explains “Fractured is not a full picture of the latest Lunatic Soul recordings. These more classical pieces have been waiting for their own time which has now come. “Under the Fragmented Sky” will be both a supplement to “Fractured” and an artistically independent release with its own character and identity.”

“It’s a very unexpected and spontaneous release” – says Mariusz Duda – “Initially, I was thinking about a maxi single “A Thousand Shards of Heaven” with a couple of other tracks but the material had evolved so beautifully in the studio that I ended up with 36 minutes of brand new music. It’s a truly enchanting album. 

“UTFS” is a music journey with very subtle electronics and vocal experiments, it’s incredibly coherent and much closer to the mood of the earlier Lunatic Soul albums. Thanks to “Under the Fragmented Sky”, the last red album will gain a fuller meaning and the whole Lunatic Soul discography will be enriched with another shade of my music fascinations, which have been suspended somewhere between life and death from the very beginning.”

The album was recorded during the Fractured sessions at Serakos Studio, Warsaw from June 16-17, and finalised December 2017 and February 2018. The final track “Untamed” sees a guest appearance on drums for Wawrzyniec Dramowicz (aka Vaaver). The album was designed and illustrated by Polish artist Jarek Kubick.

Under the Fragmented Sky will be released in the following formats on 25th May and is now available for pre-order here: http://found.ee/UNDER_FRAGMENTED_SKY

 •CD
•LP – 180g heavyweight clear vinyl as a single LP in gatefold packaging.
•Digital
Follow Lunatic Soul online:
Photo of Mariusz by Oskar Vramka.

TELEPATHY ANNOUNCE TOUR DATES & FESTIVAL APPERANCES

Now with 2 full length albums under their belt; 2017’s acclaimed ‘Tempest’ and their 2014 debut album ‘12 Areas’, Telepathy has been embraced with open arms by even the most unyielding fans of post metal, black metal, hardcore, doom and sludge alike; a testament to their inspired, nuanced and emotionally punishing take on metal. With such an array of styles and emotions forming a unique and cohesive whole, Telepathy displays an uncanny ability to unite fans of all types of heavy music and draw them into their mysterious and alluring world.

This summer they are set to head out on a series of tour dates across Europe with Dopelord, Rosetta and The Ocean alongside festival appearances at Desert Fest, ArcTanGent and Dunk Festival. Guitarist Richard Powley comments:
‘Playing live is the driving force of this band and touring is what we live for.  Since the release of ‘Tempest’ things have been getting bigger and bigger for this band and we’re honoured to be heading out on the road once again this spring!
 
We are of course thrilled to be playing select shows in the UK, Desertfest London as well as headlining the second stage of the amazing Dunk! Festival and supporting the Ocean Collective and Rosetta on a couple of dates before heading across Germany to Poland playing full headlining shows’
The spring of 2017 marked the release of Telepathy’s second sonic offering, ‘Tempest’. The 52 minute concept album; recorded at Orgone Studios with producer/engineer Jaime Gomez Arellano, enjoyed notably positive reviews across print media outlets, blogs and webzines from all corners of the globe and demonstrated a departure from their frenzied debut, ’12 Areas’.
The album depicted the harrowing journey of a person beset with grief and faced with total isolation after awaking from a great flood. ‘Tempest’ guides the listener on a journey through awakening, desolation and finally acceptance.
In support of ‘Tempest’, the band took to the road to stun audiences across the continent during 3 extensive tours of the UK and Europe. From performances in the clubs of the UK, France, Germany, the Netherlands, Belgium, Switzerland and Romania, to appearances at the legendary Roadburn Festival in the Netherlands, Berlin Swamp Fest and Into the Void Festival, the band’s furious live show has made Telepathy one of the most talked about bands in the heavy metal underground and has gained them a substantial and devoted fan base along the way, owing greatly to their unwavering commitment to touring and recording.
Telepathy tour dates:
30.04 Hull, Gorilla Studio^
01.05 Glasgow, Nice & Sleazy^
02.05 Manchester, Star & Garter^
03.03 Birmingham, The Flapper^
05.05 London, Desertfest
09.05 Nijmegen, Doornroosje*
10.05 Giessen, Post Valley Festival*
11.05 Dunk! Festival
12.05 Berlin, Jagerklaus
13.05 Dresden, Chemiefabrik
15.06 Jena, Cafe Wagner
17.05 Warsaw, Hydrozogadka
18.05 Gdansk, Protokultura
19.05 Wroclaw, TBC
20.05 Cologne, TBC
^ co-headline with Dopelord
* with The Ocean & Rosetta
16.06 Kiel, Explode Festival
17.06 Antwerp, Music City
18.08 ArcTanGent Festival

YES confirm Trevor Horn as Special Guest for London & Paris Shows

#YES50 TOUR commences Tuesday 13 March – Latest Tour News

  • Bristol and Manchester have now sold out. Other venues have extra tickets released. 
  • Trevor Horn confirmed as special guest at London [both shows] and Paris.
  • Fans considering Paris are advised to check the Olympia Box Office as this show has had a few more seats released which will sell out rapidly.
  • Founder member Tony Kaye is unable to appear on this side of the Atlantic but is slated to join the band in the USA in June and July.
  • Yes fans know how lucky they are that Yes music is still available to watch live, in these uncertain times. Don’t miss out on these shows.
  • This is the last chance for fans to see YES perform sides 1 & 4 (and an excerpt from Side 3) of iconic 1973 album Tales from Topographic Oceans – the first YES album to top the UK charts. Yes will, of course, be performing classic hits as well! It will also be the last chance for fans to experience Roger Dean’s spectacular Tales From Topographic Oceans video artwork, as it is set to be retired after the current run of dates.
  • The Officially endorsed not-for-profit Yes Fans Convention has some tickets available at £30 a head. It takes place over the weekend of March 24th & 25th at the London Palladium; the venue for the UK tour’s final two shows.
  • The convention includes 2 Yes tribute bands, Yes authors, displays, merchants, alumni, Roger Dean and Yes fans from around the globe.
  •  It will also host the launch party for the remixed version of YES’ 2011 album Fly From Here – Return Trip featuring newly recorded vocals by the album’s legendary producer Trevor Horn, as well as a bonus new track. It is the much-anticipated return of the ‘Drama’ line-up.

This new version of Fly From Here – Return Trip is being released independently by the band via the Pledge Music platform (pre orders available at: https://yesthedramalineup.pmstores.co), alongside being available for sale at the convention.

YES50 MARCH 2018 TOUR (UK & Europe) TOUR DATES
Tues 13th        Bristol Colston Hall SOLD OUT
Weds 14th        Sheffield City Hall
Fri 16th        Glasgow SEC Armadillo LAST FEW TICKETS
Sat 17th        Manchester Bridgewater Hall  SOLD OUT
Sun 18th        Gateshead Sage
Tues 20th        Birmingham Symphony Hall LAST FEW TICKETS
Weds 21st        Brighton Centre
Fri 23rd        Liverpool Philharmonic Hall
Sat 24th        London Palladium LAST FEW TICKETS
Sun 25th        London Palladium (Gig and fan convention)
Tue 27th        Tilburg 013
Wed 28th      Antwerp De Roma
Fri 30th         Paris Olympia LAST FEW TICKETS
Tickets available from BookingsDirect.com. 24hr Ticket Hotline 0844 249 2222 (subject to fee). Also available from venue box offices and select authorised ticket agencies.
Front row, Meet & Greet & VIP packages are available from YESWORLD.com
(Band picture by Gottlieb Bros.)

Single Review – Sleeper Man – Loyalty – by Progradar

“…if I’m lost, I’m on my phone, you can always find me, Tesco’s have a read on how much lager I will need to unwind me..”

The lyrical genius of Sleeperman once again brings a smile to this tired old hack’s face. Sharp, canny and incisive lyrics are becoming a real U.S.P of this clever band which, along with music that always hits the spot, are making them a highlight of this musical year for me. The third single release of 2018 is Loyalty and the guys once again tweek a winning formula by giving a little bit of eastern promise to their sound.

To quote the band, “NEIL’S SITAR INFLUENCED GUITAR MOTIF IS AN (ARRANGED) MARRIAGE WITH JOHN’S LYRICAL TRIBUTE TO THE BARD IN A TALE OF SUPERMARKETS AND PERSONAL IDENTITY. “

That Indian influenced guitar motif is incredibly catchy becoming an earworm and one that gives additional polish to what is already a very impressive song. I’m probably not the only one who actually rewinds the song so that they can listen to the witty and pithy lyrics which, combined with the excellent bass of Steve and Phil’s elegant drumming, advance the coda of Sleeperman further on up this involving musical road.

The B-Side Peace of Mind and a Good Night’s Sleep compliments Loyalty perfectly, you must take the time to get immersed in these musical storytelling gems, independent music seems to be forever fighting a rearguard action against the corporate bullshit that abounds in the music industry of late but, with bands like Sleeperman giving us intelligent music with stories that we can relate to on a personal level, long may that fight continue.

Released 4th March 2018

Check out the band’s Facebook page for how to get your hands on the CD single

Download Loyalty digitally on iTunes

Review – Zombie Picnic – Rise of a New Ideology – by Progradar

Let’s get something straight from the off, there are no zombies and (unfortunately for the hungry ones out there) no sign of any picnic of any variety but, what this striking album cover does contain is a very intriguing and involving six tracks of mainly instrumental music.

There seems to be a real clamour for that instrumental album with ‘snippets of archival voice recordings’ at the moment. Take Public Service Broadcasting and Nordic Giants for starters, and I’m a fully paid up member of the appreciation society!

Now Northern Ireland’s Zombie Picnic return with their second album and this time around the post-rock progressive four-piece presents six connected instrumental tracks spanning the two sides of this new LP. Combining a vast array of progressive musical influences with snippets of archival voice recordings (there you go, told you!) from thinkers and futurists of past and present, ‘Rise of a New Ideology’ delves into some dark and ambiguous places.

What we get is six pieces of thoughtful, intelligent music that really get you involved in this album. Opener Democracy Cannot Survive, with its slow burning, dark and sombre feel, starts things as they mean to go on. The contemplative, methodical rhythm section really gives focus to this song and the wispy, spaced out guitars take you on a magical mystery tour. It is nine minutes of mesmerising, metronomic music that draws you in to its earnest embrace. They See Science As Dangerous has a real west coast feel to it with the more psychedelic guitars and edgy drumming, where the previous track was all softness and rounded edges there’s a sharper, more blunt feel to the music on this song. Pugnacious, punky and in your face, yet with a 70’s feel, it is a well thought out piece of music. DEFCON is as laid back and chilled as they come. Nostalgia is there in droves and it has a lazy and hazy summer feel to it, life is good! It opens up into quicker paced, more insistent track with some stylish guitar playing but it never loses that twinkle in its eye or that skip in its step.

There seems to be almost a sea-change as we come to track four where the spaced out, ambient sound takes a sharp ninety degree turn and becomes a lot more alt-rock and punky. Life-Support Systems sees an urgent, jangly guitar note take over and the rhythm section seems to press the fast forward button. It’s a clever contrast in styles and gives the album added impetus. There are a few lulls thrown in to give some context and the guitar playing really does go up a notch, they’re a really talented bunch these guys. See Beyond sees the band take another chill pill and give us another luscious and relaxed track where life seems to move at a much more easygoing pace and becomes nonchalant and spontaneous. The music takes on a breezy feel in places but there is always that feelgood undercurrent. Bang! That’s the hit to the auditory senses that the raging intro to Anger in Storage (Denial Will Follow) gives you, a violent mini-storm of angry music that blows you away. There is a calming of the storm but that uneasy, restless feel remains and you’re never far away from a Nirvana-like blast of guitars and drums to lull you out of any false sense of security you may have built up. An impassioned and cleverly indignant end to what has been an intense whirlwind thirty seven minutes of music.

I’m a big fan of music that takes me in a new direction and gives me a little something that I haven’t had before. The exemplary musicianship and well-crafted songs on ‘Rise of a New Ideology’ take an acknowledged genre and take it to the next level. Zombie Picnic are a band who are going places very quickly, just don’t expect rotting flesh and sausage rolls along the way… 

Released 9th March 2018

Order ‘Rise of a New Ideology’ from bandcamp here

That Joe Payne – Debut Single

Ex-Enid frontman, Joe Payne relaunches as soloist “That Joe Payne”, announced direct from his website, published Friday 1st December 2017. He states, “After months of hard work, writing and recording, I am delighted to announce my return to music after a long and much needed rest.” Referencing to his updated name, Payne explains “If you’re wondering where “that” came from… It’s a reminder to myself never to allow my anxiety to break me again.”

Payne is best known for his work as frontman of progressive rock outfit, The Enid (2011-2016). In April 2016, shortly after the release of their last album, Dust, Payne fell ill with depression and anxiety. Unable to work, he officially announced his departure from The Enid in September 2016. His personal achievements include being voted Best Male Vocalist for two years running in the Prog Magazine Readers’ Poll (2014 & 2015) and three Progressive Music Award Nominations.

The singer songwriter has launched pre-sales for his debut single, ‘I Need a Change’ via his online shop. He describes the song as “the most heartfelt thing I’ve ever done” and “8 minutes and 23 seconds of pure unadulterated me.”
The music, written and arranged entirely by Payne, was brought to life in the studio with the help of three other recently retired Enid members; Max Read (singer and producer), Nic Willes (drums and bass) and Duncan McLaughlan (guitar). Artwork and typography have also been credited to Louis Sidis and Martin Kielty.

Pre-order link for ‘I Need A Change’

The record will be released in sync with the artist’s first live performance in almost 2 years. A re-launch show in his hometown of Northampton, at a converted cinema called The Picturedrome. Payne tells his followers he’ll be performing “the best of my back catalogue” for this one-off event, including songs from The Enid and other collaborations.
Tickets on sale now at www.seetickets.com.

I Need a Change (Single)
Track List:
A: I Need a Change
B: Moonlit Love
Bonus Tracks (CD ONLY):
3. I Need a Change (45 Edit)
4. I Need a Change (Piano & Lead Vocals)
5. I Need a Change (String Quintet & Lead Vocals)
6. I Need a Change (Choir & Lead Vocals)
7. I Need a Change (Full Arrangement, no Lead Vocals)

 

Rising UK Prog Metal Band HeKz Confirm Eagerly Awaited Third Album

Described by Prog magazine as sounding like “Queen having a barney with Dream Theater as Rush and Iron Maiden duke it out on the sidelines,” UK Prog Metallers HeKz have announced that their third album, “INVICTA”, will be released on Friday 20th April 2018 via BMH Audio.

Taken from the Latin word for “unconquered”, INVICTA is a celebration of perseverance and resilience. The ten songs come together to form a story of betrayal, loss, reconciliation and hope. Far from straying into the realms of fantasy, the songs are rooted in real experiences, reflecting the triumph and defeat that we all encounter on our journey through life and, in the case of the latter, how we can choose to be consumed by it, or fight on and emerge stronger.

“Each time we start a new album, it feels like we learn a little bit more about the DNA of HeKz and, at the same time, find new elements to add to it,” says Matt Young (lead vocals/bass).

“I feel that INVICTA is a great reflection of that, as you’re going to hear all of the things you’d expect from us but with some flavours we’ve never explored before. We’ve drawn on new influences for some of the songs, some of which would seem like an odd combination with the sound we’re known for, but we’ve tackled them in our own way and it blends superbly with what we do to create for some exciting moments in the album.”

“I think that this experimentation comes from allowing ourselves a little bit more time to collaborate on the songs this time, and the results of that combined effort have really lifted the album. I can’t wait for everyone to hear it!”

INVICTA was recorded at Liscombe Park & Visconti Studios, and the band’s home studios in and around London, and was mixed by producer extraordinaire John Mitchell (Lonely Robot, Kino, It Bites, Frost*, Arena) at Outhouse Studios, UK.

The album is currently available for pre-order from www.hekztheband.com, and will be released worldwide on Friday 20 April 2018. Fans who pre-order before Friday 23rd March will receive their copy one month before the official release date.

INVICTA Tracklisting
1. Quetzlcoatl (6:08)
2. For Our Lives (4:13)
3. The Light Fantastic (4:44)
4. To The Lions (5:10)
5. Ultimatum (6:07)
6. Line in the Sand (9:42)
7. Trecena (4:49)
8. Pariah (4:12)
9. The Devil’s Coin (15:03)
10. Victorious (5:39)

HeKz will be performing a select number of live shows to launch the new album:
Friday 23rd March – Parkvilla Theater, Alphen a/d Rijn, Netherlands
Friday 27th April – Winter’s End Festival, Chepstow, UK w/ MYSTERY

To keep up to date with all of this and more, join the band on social media and subscribe to their newsletter at www.hekztheband.com.

Web links:
www.facebook.com/hekztheband
www.twitter.com/hekztheband
www.youtube.com/hekztheband

HeKz are:
Matt Young – Lead Vocals, Bass
Al Beveridge – Guitars, Backing Vocals
Tom Smith – Guitars, Backing Vocals
James Messenger – Keyboards
Kirk Brandham – Drums