EDISON’S CHILDREN - IN THE LAST WAKING MOMENTS
They are responsible for three album covers in the historic reviews link pages, and it is fair to say that they are at the very top of my favourite artists. This was the debut and it is an album still regularly played in Lazland, longevity usually being a good indicator of quality. Also, see my interview with Pete & Eric conducted at the time of this release on the Interviews Page of this website.
In the Last Waking Moments is a collaboration between Eric Blackwood, formerly of metal band Crimson Steele and collaborator with other major rock artists such as Al Pitrelli, and Pete Trewavas, bassist with Marillion, and also a founding member of prog supergroup, Transatlantic.
The project first came to my attention when it was trailed as a project which featured as guest artists all members of Marillion, a first for all the band to be included on a non Marillion album. Given the enduring popularity of this incredible band, this is, of course, a massive plus in terms of potential commercial success. What, though, does need to be made abundantly clear at the start of this review is that this is absolutely not a Marillion album. Such a description would not only be grossly unfair to Blackwood, a huge driving force on the creation of the work but would also be utterly wide of the mark in terms of its sound and direction.
Indeed, when you listen to Dusk, the album's opener, there are clear similarities with Lunatic Soul's first two sublime, and very dark, pieces of work, and such themes reoccur throughout the album. Elsewhere, Blackwood's experience of, and Trewavas' love of, what I still refer to as classic rock in the mould of Rainbow, Dio, and Sabbath shine through. Add to that influences such as Gentle Giant, Pink Floyd, PFM, and some of the modern, harder sounding prog, and what you have is something that is unutterably unique, and, clearly deliberately, designed to appeal to as wide a range of rock (not just prog) fans as possible.
The vast majority of the instruments and vocals are handled by the duo themselves. It is a testament to the skill of these musicians that you are blown away by the bass playing of Blackwood on the opener, and then by the power guitars superbly handled by Trewavas on Fracture. Most of the lead vocals are handled brilliantly by Blackwood, but, on Outerspaced, a track which literally bursts out of the speakers with riffs that would make Tool and Opeth blush with envy, you are staggered to see that it is Trewavas screaming at you.
Of course, we have always known of his wonderful backing vocals and harmonies on Marillion & Transatlantic albums and live shows, but here, he is given free range to move right to the foreground and sounds as if he has done it all of his life. As for Blackwood, his voice is simply remarkable. The subtle and delicate voices on In The First Waking Moments are lovely, and these move together seamlessly into a thoughtful, more commercial sounding, vocal on A Million Miles Away, backed by some remarkable harmonies of Trewavas and outstanding blues and rhythm guitars. That this song is then able to seamlessly move into the altogether darker, and industrial, Fallout (Of the 2nd Kind) shows just how well this work has been put together. A decent set of speakers also bring out the incredible synths and strings programming that set a lovely symphonic backdrop to the riffs at the fore.
A further example of the vastly varying styles on the album are when the madness of Outerspaced, featuring an intergalactic pissup amongst the pummelling riffs, ends suddenly and you are transported into the ethereal beauty of Spiraling, a track which features my favourite guitarist, Steve Rothery, on lead guitar. The track tells its story of drifting in space wonderfully. Blackwood's vocals are pitched perfectly, and Rothery is, as ever, excellent, providing one of his trademark solos. However, it is, again, a mark of the dominance of the duo that, to these ears, the highlight is the exquisite acoustic guitar lead by Trewavas backing Blackwood's vocals. This track is a real highlight.
From this, we are transported to The "Other" Other Dimension. In my interview with the band, they suggested in this track a homage to Gentle Giant's "In A Glass House", an album which I put on this morning for the first time in a long while to prepare this review. Well, it is. Think of that classic album on a touch of speed, and you are getting somewhere near the mark. The whole track is deeply dark and disturbing, with the main theme from Spiraling interspersed amongst Mark Kelly's superb keyboard work, a thundering bassline, and swirling guitars all vying for your attention with the voices of the doctors performing a weird and wonderful operation on the subject. This itself then moves into a slice of eastern promise on Across The Plains, featuring Trewavas on a VG Sitar and a gentle riff.
The themes of the opening tracks are reprised on the title track. Blackwood's vocals are, again, lovely, and the duo are accompanied here by a guest appearance by Robin Boult (who has played guitar for Fish), who provides an accomplished and haunting electric guitar solo set against some wonderful acoustic work and strings and programming.
The intensity heard on Outerspaced returns with a vengeance on Lifeline, featuring, again, some very heavy riffs. The duo share vocal duties, with Blackwood providing the subject's lead, and Trewavas the voice of the mysterious "others". The bass riff is, again, thundering, whilst Blackwood's lead guitar echoes and blasts in equally effective measures. We then have what can only be described as a heavy rock fan's dream track. Fallout (of the 3rd Kind) fairly rips along and brings with it a wall of sound that simply has to be played on a surround sound system to get the full benefit. I don't think I have ever heard Trewavas this intense on bass guitar, and the pair of them bring such a huge sound on lead guitars that you simply give up at this stage, and merely sit down in sheer wonder and gawp at the sound it produces. What you also notice is just how good Blackwood is at raising the intensity of his voice to match proceedings.
Then we have the epic track of the album. The Awakening (Slow Burn) is not only a highlight of the album, but also a highlight of 2011, full stop. Clocking in at just short of sixteen minutes long, it is, perhaps, the most recognisably "proggy" track on the work. It incorporates at the start more of the instrumental themes first heard in the openers, with some mournfully sad vocals and lovely acoustic guitar work, held together perfectly by lilting and lifting strings, keyboards, with, at its heart, that magnificent rhythm section of Trewavas on bass and the excellent Ian Mosley on drums. This intensity slows to a standstill a third of the way through, with bass and acoustic guitar providing a gentle riff, before Blackwood delights us with a haunting lead guitar sequence accompanying understated and ethereal vocals (it is in this passage where the duo, in my opinion, come closest to the sound of latter period Marillion on this album). Trewavas then takes over the lead duties with an incredible acoustic guitar solo, before Blackwood steps in again to accompany this, with the track leading us in effortlessly to its denouement. And what a close it is. Grandiose, huge in scope and sound, with an array of guitars, strings, synths, drums and effects joining together with a choir featuring Steve Hogarth, the duo, and Mandy Delly in a choir announcing, "The Awakening Hour". I have listened to this album many times prior to writing this review, and each time this passage leaves me virtually breathless with its intensity. My interview gives us an idea of how an initially "Trick of the Tail" type track of six minutes morphed into something this long. Staggeringly good, and a must for all prog fans to hear at least once in their lives.
The album closes with our final Fallout (of the 4th Kind), a gentle and kind comedown after the intensity of what laid before it, and it is clearly designed to tell us the end of our hero's story.
Of which?. This is a concept album. There are some concept albums where it is relatively straightforward to guess the intent of the author and the story he/she was trying to put across. One such example, I suppose, is Marillion's Brave. We all know that Steve Hogarth heard the story of a young girl throwing herself off the Bristol Suspension Bridge, and wrote a fine concept behind the lies, abuse, and emotions that led up to that fateful moment.
There are others, and The Lamb Lies Down On Broadway comes to mind specifically for me, where the story itself is somewhat less clear. You know there is a concept there, but it leaves you as the listener/reader with a huge amount of scope with which to actually work out precisely what is the true meaning. Ask 100 people, and at least 80 of them will give you a different answer. In other words, the meaning is left to you, and its meaning is personal to you.
So it is with In The Last Waking Moments. I have seen some people describe it as the story of an alien abduction incident (a la The X Files), others as it describing an extreme psychotic moment. For what it is worth, my own personal take on the meaning of this story is one of a, yes, extreme moment, but I interpret it as describing those moments prior to death and moving onto the "other side", our last waking moments, which can seem to be almost eternal to a mind on the threshold of death, before the transformation into what? Where? How?
Anyway, my meditations aside, there is one reality that cannot be put aside. This is an extremely important and excellent piece of work. There are some magnificent guest performances by members of my favourite band and Robin Boult, whilst Mike Hunter has done a fantastic job of finalising the knob twirling duties. However, and it is a very important point to make, this remains at its forefront a vision and execution by two exceptional talents, one of whom I am very intimate with musically, and the other with whom I very much hope to be as time progresses.
This album is virtually flawless in its execution. If you can, get the CD version, because I should mention here the wonderful photography & artwork created by Wendy Farrell-Pastore.
In The Last Waking Moments is a true masterpiece, and I cannot recommend it highly enough.
PENDRAGON - PASSION
Exceptional modern progressive rock album which also happens to be my son’s favourite. Good taste runs in the family!
A lot of the pre-release hype about this new release from Pendragon, easily one of the most important bands to emerge from the UK in the 1980's, would have been enough to make a lot of prospective buyers think twice about investing their hard-earned cash. "Massive new direction", "shedful of new influences", and "Barrett does rap, but will the fans accept it?" are just a few of the ones I saw.
In reality, this stunning release basically pushes the band further in the direction commenced with the excellent releases Believe and Pure. Far heavier in outlook and execution than their earlier works, but without ever losing the excellent musicianship, thoughtful lyrics, and sense of grandiose pretensions that made a lot of us love them in the first place. And as for the rapping, I can reassure the public reading this that Barrett gives us about a minute on the opening title track and a bit more on Empathy, but Tiny Tempers or Snoop Woofy Woof he ain't, thankfully. In fact, without the pre-release hype, you would barely notice it was there.
Passion opens deceptively quietly, with acoustic guitar leading us into the explosive sequence, both musically and lyrically ("drop my balls" indeed!). In fact, these lyrics repeat themselves in theme across the work. I get the impression that Barrett has thought long and hard in attempting to put across his disgust at much of modern society and politics. Dripping with bile in parts, and exceptionally thoughtful throughout, he is a lyricist who demands being listened to carefully.
The harder direction hinted at in the last two albums finds its most obvious successor in the exceptional second track, Empathy. In parts, very heavy, very well played, but interspersed with that lovely sense of symphonic theatre that the band have always executed so well. Turn your speaker volume up as far as you dare for It's Just A Matter Of Not Getting Caught - they will shudder at the intensity, and this track puts to shame many bands who pass themselves off as genuinely heavy metal. Skara Brae is just about the finest mix of symphonic and metal that you are ever likely to hear.
Longstanding fans of the band, such as myself, will delight in the incredible drumming performance of Scott Higham. It is absolutely no exaggeration to state that he really does bring a huge amount of energy to this band, and he is definitely better suited to lead the rhythm section of an outfit tending towards heavy prog territory.
But, of course, we do still have those gloriously lilting guitar solos by Barrett, one of the most underrated exponents of his craft in my opinion. Clive Nolan, as ever, brings to the band his wonderful sense of lush soundscapes (witness his remarkable solo one minute at the denouement of Empathy), and his quieter piano interludes are a joy to behold. He shines in this vein on Your Black Heart. Finishing off is Peter Gee, a great bassist, who clearly has fed off the energy that Higham has brought to the band.
It is difficult, as ever, to pick out highlights from a Pendragon album. Each of their works has demanded to be taken as a whole, and this one is no exception. However, to these ears, the longest track, This Green And Pleasant Land, at over thirteen minutes long, is up there with the finest pieces of music they have produced, and that means the finest of prog in my opinion. Huge in scope and execution, there are passages of pure beauty contained here. I don't think Barrett's guitar, set against a stunning backdrop by the rest of the band, has ever sounded better. Higham also proves himself very adept at leading the charge in lighter, as well as heavier, moments. The pace, at times, is utterly relentless and pulls you along absolutely willingly into another plain. In addition, the band show us they haven't lost their sense of humour when you are treated to a nice little Swiss yodel set against a throbbing bass line at the end.
Album closer, Your Black Heart, is also exceptional. It is a gorgeous ballad, just short of seven minutes long, and is, I suppose, reminiscent more than all else on the album, of earlier days. It is a marvellous way to come down from the sheer intensity of much of what preceded it, and the closing passage sends shivers down your spine.
In a similar way to the excellent XXV release by Pallas earlier this year, Passion is the sound of a band absolutely refusing to pander to and rest on past glories. It is the work of a band determined to push their own boundaries and stay relevant in the 21st century.
This is an album which traditional fans, as well as those who love bands such as Rush and Dream Theater, will revel in. I cannot recommend it highly enough, it is a delight from start to finish. This is an album which will blast out of my speakers many times in the future.
A masterpiece of modern progressive rock, and quite possibly the finest thing this great band have ever produced.
INTROITUS - ELEMENTS
Stunning album from Sweden’s finest. The paeon to a dead mother is simply stunning and deeply moving.
To me, the whole purpose of this website is the opportunity to discover great (and some not so great) new artists and bands, who you would not otherwise have come across in day to day listening or record shop browsing. Stuff that moves you beyond the typical and classical music of the genre, as great as that music is. To the list of exceptional talents must surely be added this incredible band from Sweden, and the highlight of what has been a very good year for new music.
Introitus (another name for the vaginal orifice, apparently) are a Swedish project led by Mats Bender, and feature a host of family members in support. This is their second release, and it will not be too long until I get the debut based upon this wondrous work. For this unashamed classical prog rock band have produced in Elements an utter masterpiece, and one that will be on the Lazland deck for many years to come.
Opener, The Hand That Feeds You, starts off in a loud and bombastic fashion, with passages clearly inspired by the heavier moments of bands such as IQ and Pallas. This, however, is not the be all and end all of this band, for within each track there is a multitude of moods, influences, and tempos. Four minutes in, we get the most beautiful acoustic guitar and flute, drawing in a more melodic passage that takes you right back to 1972, except that it is bang up to date in a modern and unique production. This leads up to a superb electric guitar solo, and we have a denouement that is epic in statement, and epic in delivery, with some lilting Celtic chants backed by keyboards reminiscent of Mark Kelly at his best.
Earth is the first of the short "Elements" instrumentals and this leads us into the first of the two tracks on this album that can only be described as attaining that perfect genius status in music, Like Always. This is a wondrous ballad, with an incredible vocal performance by Bender's wife, Anna. This is a moving love song which takes you to heights that are almost impossible to reach. The guitar solo and lyrics/vocals at the end are fantastic, and the love that created this love song is, you know, utterly genuine and utterly perfect in its musical delivery. So good, this track is exhausting.
Wind is the second short instrumental element, and reminds me, with its flute section, of I Talk To The Wind. This takes us to Restless, which has an uplifting, soulful guitar solo before moving into its first, very noisy phase. At times manic, but never less than interesting, in particular with Mat's keyboard performance. Halfway through, the track settles down into a lovely pastoral pastiche, before gradually building up to match the volume and intensity of the opening track. There are, amongst all this, some very nice Celtic chants that I am sure will appeal to fans of bands such as Mostly Autumn and other prog folk.
Fire is the next Elemental instrumental, and clever effect and crystal clear production create a fire in your speakers. This takes us nicely onto Dreamscape. This features very clever music and lyrics which tell the story of a dream. Actually, this is an area where this band excel, the art of bringing to vivid and interesting life, events that are so commonplace, that you rarely spend time analysing them. So, love in Like Always, death in the staggering closer, and dreams in this track. The keyboards and effects perfectly create the dream story with some ethereal vocals.
Water is the last of the elements, and nice effects again take you to a small rockpool.
The best, though, is saved until last. Soulprint (for Mother) is one of those tracks that will stay with you until your dying day. I can only compare it to two of my all-time favourite tracks, both of which deal magically with bereavement - Mother by Judie Tzuke (from the Secret Agent album, which is sheer class) and the exceptional Eternally by Karmakanic. This track is as good, if not better, and I can think of no higher praise than that. Anna's vocals are of the highest quality, and the music delivers seventeen minutes of highly original classy rock, with a very special mention going to a rhythm section of Mattias Bender on drums, who is excellent here, and Dennis Linkvist, whose thundering bass is consistently excellent throughout the album. The heavier passages deliver a wall of sound not really heard since the pomp days of Genesis in the mid-1970's, and the orchestral passages, with some moving cello pieces, are symphonic prog of the highest level.
Whilst Introitus are nowhere near the commercial league of bands such as Pendragon, with this release they absolutely deserve to be catapulted into the major division of prog. I swear that the nerve ends tingle and shatter when you hear Anna sing mother to sleep.
For me, this is a highlight of what is shaping up to be an excellent year. It is available on Spotify, so give it a few listens, and then, like me, download it from Amazon for the ridiculously cheap price of £6.99. It is worth a damn sight more than that, and I cannot recommend it highly enough.
This is prog rock that manages to evoke its many influences, without ever being derivative or retro, and is, at times, exceptionally moving, and always oozing sheer class.
SEAN FILKINS - WAR AND PEACE & OTHER SHORT STORIES
A class album I discovered well after its release and proof positive why top ten lists are rather pointless because I could not choose between this and my other favourites from a very strong year.
Sean Filkins was the lead singer of Big Big Train until the great David Longdon replaced him for the exceptional The Underfall Yard. This, his debut solo album, was released in 2011, and, I must admit, it passed me by completely at the time. Why, I know not.
That is, until one day spent perusing the top albums of that year whilst recuperating from an operation, I read the reviews, especially that of my old friend Tszirmay, and thought......this sounds just like the sort of stuff I would like.
And do I. What an album. Quintessentially English in its entire outlook and output, War And Peace & Other Short Stories captures a unique talent. Yes, in the Are You Sitting Comfortably intro piece, one could point to Floydian bits. In the two epic tracks entitled Prisoner Of Conscience you could point to a fair bit of Beard in part one, and certainly Anderson heavy Yes in part two. However, these are merely influences, because at the heart of this is Filkins as a multi-instrumentalist, a man with a huge vocal range, from as heavy as it comes to achingly poetical. Further, his piano playing, especially, is as heartfelt as any classical exponent.
Passages range from the blistering, to the bombastic, to some of the most gorgeous music I have had the pleasure of listening to in many years. From the first moment I put this on, I knew it would become a lasting favourite. The English Eccentric, the first song proper, is perhaps about the best self-description I have seen written by an artist, and tells a story of a man whose time is no longer here, and the contrast between thundering sound and wistful, mournful, acoustic rather accurately reflects a life lost though conflict.
The epic Prisoner.....is right at the heart of the album, and is in two distinct phases, as mentioned above. The guitar burst at the close of part one is as heavy as anything you will ever hear from any so-called heavy metal band, before we then have the most dreamy, and beautifully sung, intro of part two, yet the two segue seamlessly. Quite delicious. During the varying movements, attention is never, ever, lost. The denouement brings all of these varying moods together in a huge wall of sound that deserves to shake the room of any discerning progger.
Even this, though, pales into insignificance when set against the truly exceptional Epitaph For A Mariner, twenty one minutes of the most incredible rock music I have ever had the pleasure of listening to. Opening with the traditional Sailor's Hymn, beautifully sung by Abigail Filkins, to the accompaniment of a mournful organ, the track develops into quite the most wonderful piece. Abigail has a gorgeous voice, and her mournful, soulful, wail is the passage to all that follows.
I said at the commencement of the review proper that this was a quintessential English album. Well, this track, more than any other, embodies that spirit, because what could be more English than a hymn, Ode, and Epitaph to fallen seafarers, the bravest of the brave, who risk their lives daily, and, as with our hero here, often fall in the harsh environment they choose to try to tame? "But the sea's no friend to man". Written in three absolutely clear, and distinct, movements, this track embodies all that is good about a piece of music which, again, never allows the listener to drift and lose focus. The Epitaph passage gives full rein to the bombast that Filkins does equally as well as the heavy and restrained. The huge sound created gives way to a couple of minutes of lovely piano at the end, allowing the listener to reflect and, yes, grieve.
Closer, Learn How To Learn, is a fitting climax, nowhere near as intense as what came before (it would be, in truth, impossible). It has been compared by other reviewers to Drama era Yes or Flower Kings. It is, I think, far closer to the finest that the latter have produced and brings us down from the intensity that came before in a fashion that still demands our full attention, very much in the fashion of the best of the Swedish greats. The guitar solo midway through really is gorgeous, and we are then taken down....down......down..... To a wall of vocals and gentle acoustics which re-asserts the fundamental unique Englishness of Filkins, as a fitting end to a fundamentally unique piece of work.
In 2011, I raved about the Edison's Children debut, and the wonderfully beautiful Introitus album, Elements. Well, this one is as good as these two gems. This is an album which is so representative of the best of modern progressive rock. Taking influences and moulding them into a series of stories and soundscapes which are essentially 21st century. In other words, an album which moves the genre forward.
It is a masterpiece. For those of you, like me, who missed it at the time, this album comes very highly recommended.
COLIN MASSON - THE SOUTHERN CROSS
Sit back and enjoy the voyage.
This 2011 release by talented multi-instrumentalist Colin Masson arrived on my doorstep last week and adds greatly to one of the best years for new progressive rock music I can remember.
This is a concept album, and the CD inlay describes in great detail the evolution of the album. The story can be summarised as the tale of two ships, both called The Southern Cross, both doomed, but separated by a thousand years in time. The first "side" deals with an 18th Century ship that came to grief in Southern Australia, whilst the second deals with a futuristic ship of the same name falling foul of a black hole.
As with all concept albums, the trick is to tell a coherent, believable, story which both manages to hold the attention and, of course, allows the music to put across that story. On all levels, The Southern Cross more than succeeds.
The album opens with what can only be described as a fun sea shanty, which lyrically and musically sets the scene very well for a group of simple sailors facing their fear of a long voyage into the unknown, knowing intuitively that their ship is not the best and might well be doomed. Perhaps surprisingly, the track is not as doom laden as it sounds, and I rather like the way its upbeat tone reflects the perhaps fatalistic sense that many such people had in that great age of discovery.
Sails Of Silver moves the story forward, with a very nice vocal set against a gentle acoustic guitar and dreamy keys. This is a lovely pastoral track showcasing to very good effect Masson's clear mastery of, especially, the acoustic guitar, and you can just imagine being on deck on calm waters voyaging towards your far away destination, before the track closes with a great electric burst announcing arrival, a phase which is very reminiscent of much of Mike Oldfield's more symphonic works.
South Australia is the destination, and the track continues where its predecessor left off. It is grandiose, describing particularly well the sailors' sense of anticipation bound for the continent. It features the heaviest musical passage thus far in the album, and is expansive, but also interspersed with some more lovely pastoral, acoustic, moments, thus describing the varying mood changes of its subjects rather perfectly. Again, Masson proves himself to be a master of the acoustic guitar especially.
On The Wreckers, Masson's wife, Cathy Alexander, takes the lead vocals, and quite wonderful she is too. Very operatic, she leads a symphonic piece setting the scene marvellously, whilst Masson bangs & crashes with orchestration and percussion to more than adequately describe to us the cliffs, waves, and rocks upon which the ship will flounder. Huge in scope, and marvellously executed, this track is a pure joy to listen too, with Masson and Cathy complementing each other very well.
Compass Rose closes the first part of the story. This is a sad, melancholic track featuring a quite lovely guitar solo. A paean to the fallen, this is yet another example of how one can build a picture musically without the need for any words whatsoever.
The Intermission follows. Fairly amusing for the first couple of listens, as Masson explains to his younger audience that this is the point at which you would flip the vinyl for side two in the "good old days", you will, after this, find yourself skipping straight to the second part of the story.
This begins with The Heart Of The Machine, and it brings about a huge change in mood, tempo, and sound, almost as if you are going from pastoral, symphonic 1970's prog to the brasher feel of the 1980's & 90's. Of course, it is all quite deliberate; after all, Masson is telling a story of events a millennium apart. A booming bass, especially, rings in the change - out with the old, and in with the new. Having said that, I find this the weakest track on the album, because the lyrics are, in my opinion, rather cliched, and I feel the track would have worked far better had it been left as a purely instrumental track, and this, to me, is witnessed by the fine heavy rock phase at the denouement.
We then move to the two longest tracks on the album, beginning with Ocean Of Storms, clocking in at over twelve minutes long. It is epic, and also extremely good. The vocal effects add to the mood, and effortless keys and orchestration, with some quite lovely recorders, create a dreamlike state, and the key to this is that it keeps the listener's attention throughout, not an easy thing to manage on such a track. Interestingly, the liner notes state that this track was virtually rewritten as new (much of the other material harks back many years, awaiting modern recording technology to realise), and all I can say is that this makes me really look forward to the next release, and I hope that it is not too long in coming. There are passages which are, to these ears, very Floydian, especially with the sound effects, and, throughout, a quiet sense of doom pervades proceedings. It is, though, never anything less than magnificently performed.
The album closes with the title track, the longest on the album at fourteen and a half minutes. Here, you should close your eyes, and simply let the music take you on board the ship as it plunges towards its doom. Wild guitars, a booming bass, and drums set the scene, with keys all the while bringing us the tragic theme, much as a good opera would. The short vocal section adequately conveys the angst and despair of the situation, but I do rather feel that Alexander might have been a better choice to sing here, given her clear sense of the tragic and a voice that would bring a better sense of the drama. However, the music itself then reasserts itself fantastically as entry comes, with the aftermath reflective and brilliant.
The inlay notes are very good and give an insight into the development of this project. However, as with the best concepts, it leaves the listener to imagine his or her own "reality" in the story, and I hope that I have conveyed my own personal interpretation adequately.
My only real quibble with the album is what I regard as the underuse of Cathy Alexander vocally. She shows herself to have a magnificent voice on The Wreckers, with an operatic sensibility that more than matches the drama of the story. More of her in future, please.
The artwork, as one might expect from a professional artist, is sumptuous, and this is a well-produced, very well executed, and very enjoyable album. It will appeal very strongly to fans of Mike Oldfield (Masson is clearly very strongly influenced) and also those, like me, who really enjoy the Meddle period instrumentals of Floyd as much as the later stuff.
Given that Oldfield & Floyd have sold enough albums to fill the planet's living rooms, there is, I believe, plenty of scope for this to be a commercial success. It certainly deserves your attention and is a work that becomes more enjoyable with each listen, and one I will play regularly in time to come. I will also record my appreciation for Colin making the CD available for me to review.
Jacszyk, Collins, and Fripp – A Scarcity of Miracles
The starting point for one of the finest, and perhaps unlikeliest, reunions in music history.
For those who found the last two King Crimson albums, like me, a mess of utter noise, lack of direction, and, frankly, dire cacophonies, there was a little bit of trepidation when it was announced that this album was being prepared. What direction would Fripp take? Would it be a repeat of a formula that had well and truly gone past its sell by date, or would it herald something new and exciting?
Well, thankfully the latter is the case here. From what seemed to be a set of jamming sessions, a new and exciting phase in the history of what is one of the pre-eminent prog bands has been born, for, be under no illusions, with this line-up, it is a true Crimson ProjecKt.
My first proper listen of the album was when the You Tube video for the title track was posted. I actually like the video (I know many don't), but one thing was unmistakeable - the quality of the music, playing, and production. It is a gorgeous track, starting off in the fashion of Fripp's many more ambient and experimental works, before morphing into a lilting, jazzy, and quite superb main section.
Mel Collins takes you back donkey's years, and his jazz bursts throughout the album on sax are a joy to behold. The rhythm section is stunning throughout, although with the names Levin and Harrison that should not altogether be a surprise. The twin guitars and soundscape work on keys by Jakszyk and Fripp complement each other very well, and at times some of this reminds me very strongly of the work Fripp did with Brian Eno, no small compliment, of course.
Naturally, Fripp is extremely distinctive, and this is easily the finest work on guitar he has put his name to in many a year, simply because the nature of the songs allows him to be heard again.
The most pleasant surprise, though, is Jakko Jakszyk. I vaguely remember him from English pop/jazz combo Level 42, who had a measure of success in the 1980's, but it was never really my "cup of tea". Similarly, I knew he had formed the Crimson tribute band, 21st Century Schizoid Band, with MacDonald and others, but they never really entered my radar, as I don't, as a rule, like tribute bands. Well, I am happy to announce that I was wrong. This man was born to create this type of music; intelligent, jazz influenced, rock. He has a lovely voice, which utterly sits alongside the masters he performs with as an equal. His vocal performance on The Price We Pay is one of the finest I have heard in many a year.
The first five tracks are a sheer pleasure to listen to, and if the album had stopped here, it would have come close to attaining masterpiece status. However, by The Other Man, the attention begins to wander a bit, until midway, it is rescued by a great riff and change of pace. The album closer, The Light Of Day, is, at nine minutes, easily four minutes too long, and you do, by this time, wish dearly for a change of tempo.
However, in the scheme of things, these are pretty minor quibbles, and if, as I hope, this album is the start of a long term collaboration, then I for one will be overjoyed. A series of albums and a tour are what I wish for here!
This album is easily the most commercial and accessible work Fripp has been associated with for many years, and I think this is both deliberate and as a direct result of Jacszyk's involvement. The man is a breath of fresh air after the last Crimson line-up ran out of ideas and direction.
THE DECEMBERISTS - THE KING IS DEAD
It ain’t prog, true. But give it a chance, and you might be surprised at just how good this slab of Americana is.
Well, what to make of an album and a band that have, absolutely intentionally and advertising the fact widely, turned their back on what we would call prog-folk, and gone back to a stripped back sound, with a curious mixture of rock and traditional folk?
I gave The Hazards of Love a “masterpiece” review, and its predecessor album, The Crane Wife, a strong “excellent” review. This is a great band, and, I think, certainly in terms of commercial sales and success, an important band.
So, as previous reviewers, with varying degrees of opprobrium, have pointed out, this is not a prog folk album. It's not in any way a progressive rock album. Does that make it a bad album? Well, of course not.
After giving the CD a spin a few times now, the first thing that strikes me is just how much more accessible and listener friendly both the lyrics and music are. Whilst I love the two previous efforts, it is not going too far to state that they can both be hard work and, at times, very emotionally draining. Meloy has very purposely moved away from this, and, in doing so, has, in fact, emulated many of the classic prog artists of yesteryear. Not every album can be a Thick As A Brick, The Lamb, or Dark Side Of The Moon, and neither should we expect them to be.
Some of the music here is exceptional. Both January Hymn and June Hymn are quite lovely, both understated and rather uplifting in their obvious reflection. The latter has Dylan's influence painted all over it and is all the better for it. Further, of course, the REM influence is strong, especially given the fact that Peter Buck plays on the album. Down By The Water could appear on any mid period REM album, and guess what, I like it. It is the longest track on the album. This Is Why We Fight, takes this influence to a further level. With this, as with much of what happened before, my toes are tapping relentlessly. The album closer, probably the closest they come in terms of texture to the predecessors, Dear Avery, is gorgeous in its simple use of guitars, bass, piano, and vocal harmonies.
It is my honest opinion that, in years to come, American music fans and critics alike will look upon Colin Meloy with as much respect and affection as they do with the likes of Paul Simon & Bob Dylan now. In fact, with his use of words as tales, there is much of both of these in him.
So, how to rate it? Well, I think it's an excellent album. I would recommend it strongly to music fans who are able to appreciate that there is a world out there not exclusively prog driven. No, this is not an epic tale. No, it bears very little relevance to progressive rock or folk-prog. However, what it is is a mighty fine piece of modern American folk/indie rock from a band who still, musically, play like a virtuoso prog band, i.e. very well.
PETER GABRIEL - NEW BLOOD
It is a different take on some genuine classics, but 11 years later, we still await new material.
I have loved Gabriel's music for many years now, both with Genesis and in a solo career that has produced some exceptional music, although not nearly enough of it. This is the first studio album released by Gabriel from his own material since 2002's Up, and is, as with 2010's Scratch My Back, an album of orchestral interpretation, this time with Gabriel's songs rather than others.
For those of us who believe he is akin to genius, the question has to be asked, can you possibly improve on the original recordings? Is it possible to bring new focus to songs that we have enjoyed for many years now?
By and large, the answer is an unequivocal yes, although I must state that it does not work throughout the album. There are some very disappointing moments, and perhaps it might be better to deal with those first.
Don't Give Up is the biggest disappointment of the year to me. Whilst it was always going to be a thankless task for any vocalist to fill the (Big Red) shoes of Kate Bush, I'm afraid that Ane Brun comes nowhere near. It really doesn't work at all. Her voice lacks the sheer passion of the original, and the orchestration does not add one jot to the original, which was an orchestral piece anyway. It really is quite horrible, and a massive disappointment.
Digging In The Dirt lacks the sheer intensity of the source material, and for once the orchestration fails to match or exceed the darkness of the original. The vocals are stripped back far too much. It's good (you cannot really fail with material this strong), but it is only really at the close that I find myself taking a great deal of notice.
A Quite Moment is the "what's the point of this?" moment on the album. Almost five minutes of bird song, and nothing else, is a pleasant way to spend some time, but I really cannot see the point at all.
Lastly, that all time classic, Solsbury Hill, surprisingly, does not translate at all well to this format, and this was strikingly seen on the Jools Holland live sessions on BBC 2, where Red Rain was majestic, and this was, well, plodding and slow.
Those are the gripes over. Elsewhere, there is much to celebrate on this album, with some magnificent reworkings of excellent pieces of music.
Opener, Rhythm of the Heat is very strong. The orchestra adds a menacing tone, and lilts strongly during the "The rhythm has my soul" sequence. The backing vocals are far more sparse than the original, and the strings are more than adequate substitutes for the drum troupe found on the original, and the full orchestra builds to a huge climax.
Downside Up is simply beautiful, and, with daughter Melanie sharing the vocal duties, closer to the excellent live version than the rather limp original on OVO. She has the most gorgeous voice, and an oboe adds a lovely poignancy to proceedings. Strings back gently before taking centre stage and adding a whole new intensity to the song. The closing sequence on the original album is cut short on this version.
San Jacinto is just as wonderful here as it is on the original, a true highlight of an exceptional musical career. The complex music is tailor made for orchestration, and the intricate woodwind and percussion mid-section is wonderful to hear. Gabriel himself has rarely sounded better vocally, and the hairs are raised at the denouement. A pure classic, whatever the version.
Intruder is incredible here. The staccato use of strings and brass manage to make this version even more creepy than the synths and drum machine utilised on the original. This is a truly imaginative reworking of a highlight of Gabriel's commercial breakthrough album. The denouement brings forth a massive wall of sound that leaves you breathless.
Wallflower is probably my favourite Gabriel solo song. The orchestra doesn't really add anything new here, although the gentle piano utilised most certainly does, but, in this instance, I don't care. The song's fragile beauty and tribute to brave souls the world over will work whichever version you put on, and the backing vocals do really add a whole new beautiful dimension to proceedings. The close of the track was made for violins crying, and it doesn't disappoint. Melanie again shines in the main conclusion.
In Your Eyes is bright, bouncy, and the orchestration is wonderful at the start, a startling contrast to the somewhat moody passage on So. This mood returns when Gabriel enters the fray, but Melanie again backs wonderfully, and the whole song is far closer in mood and execution to the live version, and a joy to listen to, a reaffirmation of life and love. I don't even miss Youssou N'Dour when I hear this.
Mercy Street is wonderful to listen to again, with the female lead adding a great deal, certainly given the subject matter.
Red Rain is the surprise package of the album. The orchestra takes the pace of the original to both new heights and a supreme show of noise. This is bright, sunny, and rises to an almost impossible intensity prior to the almost silent close.
Darkness is rather more understated than the original. Dark and brooding, I love Gabriel's new gravel like take on the vocals, but also love the sunshine the flute brings to the brighter passages.
Lastly, The Nest That Sailed The Sky is a beautiful instrumental with soundscapes which take me back to Passion, which, to me, is the highlight of the great man's career. A delicate piano and backdrops create a loving, mournful pastiche.
So, there we are. Not a masterpiece, but the weaker tracks aside, close to it. Really, though, with such material, you really can't fail.
The most obvious quibble, though, is the fact that it has been ten years now since we had a genuine Gabriel album of wholly original material. It's far too long. I know his old man is still alive on the cusp of 100, but, really, he needs to get a move on. There is clearly so much left in him to not do so.
The highs are sublime, and the lows do not really detract that much from the overall pleasure of this album, Don't Give Up aside.
PALLAS - XXV
Return of the Scottish pioneers.
The return of a band who, alongside Marillion and IQ, were at the forefront of the UK prog revival of the 1980's. This is, of course, the follow up to the acclaimed concept album, The Sentinel, released in 1984, and is a story which the band have threatened/promised (delete according to your tastes) to return to for years now. The album has received some critical acclaim in the music press. The question, of course, is whether it deserves the praise heaped upon it.
I think that the answer is yes. This is a brave album, one that holds the listener's attention throughout, and also is absolutely nothing like any of the stereotypical “neo prog” that the band and others in the sub-genre are so often accused of. If anything, much of this is a glorious heavy rock album, with some thunderous and pulsating riffs, interspersed with some delicate passages. The playing is excellent throughout.
The opener, Falling Down, spends seven and a half minutes grabbing you by the balls, and squeezing extremely tightly. It features some exceptional rhythm work, and new vocalist, Paul Mackie, at once, renders all memories of his illustrious predecessors into the distant past. His is a fantastic debut.
As with all of the best concept albums, it is pointless entering into a discussion of individual tracks, because this album needs to be appreciated as a coherent whole. I'll get around to reviewing the original story soon, but I really do think that this, released 25 years later (hence the title), forms far more of a seamless work of music and story. The original was basically an album of two halves, with much of the first side attempting to gain commercial success. In 2011, no such constraints hold the band back. In addition, the advent of digital technology certainly improves the effects essential to such a story.
Amongst the heavy, pounding tracks, there are some moments of quite beautiful contemplation. Something In The Deep is the first such moment, and is a very understated piece of music, with a great symphonic passage, that grows upon you with each listen. In fact, that could be a good summary for the album as a whole.
This is an album of contrasting moods. At turns very heavy, symphonic, and, at times, almost post indie, I really like this album. Certainly people who downloaded the excellent Monster, which is a great commercial track that deserves hit single status, for free at the end of last year should, in my opinion, now go the full hog and go to their usual music supplier and get the full work. This is a truly progressive album, in that Pallas have made a conscious effort to move their sound and ideas forward, rather than taking the easy option of remaining stuck in the past. The two part XXV title track is as good an example of pomp prog I have heard in many a year.
There will probably better contenders for album of 2011 as the year progresses, but I would be staggered if this wasn't in my personal top ten.
STEVE HACKETT - BEYOND THE SHROUDED HORIZON
Very strong collection of songs.
A new release by Steve Hackett is always an important event. By far the most prolific, and I think, most consistent of the former Genesis members, the fact that he can still release visionary and relevant music in 2011, and on his 24th solo release, is testament to his talent. In a recent review of Anthony Phillips' debut solo album, I remarked upon Armando Gallo's comment that hearing that album made him wish that Phillips had never left Genesis.
Well, as much as I admire and adore Phillips' output, listening to this, the vast majority of Hackett albums, and his immense contribution to Genesis themselves, all I can say is thank God Hackett did join the band and provide us with such an immense body of work.
Much of this album was written whilst on holiday in Egypt, with Hackett joined by his wife Jo and keyboardist Roger King, both of whom it is abundantly clear have made a huge contribution to the feel and shape of this album. I really enjoyed the predecessor album, but this, I think, is a more accessible work, and has the feel of a band effort throughout, notwithstanding the array of artists that Hackett gets to join him, including, on three tracks, the great Chris Squire.
There is barely a weak moment on this album. It opens with Loch Lomond, which, after a rather heavy start, moves into more of a "traditional" Hackett track. It features some exceptional acoustic guitar work, alongside nice vocal harmonies. The denouement reverts to a classic rock feel, with Hackett showing off his electric prowess, mixed with some lush keyboards by King.
The Phoenix Flown is the first of the "Egyptian" songs, and is lush, wholesome, evocative, and far too short. This mild criticism could also be applied to Wanderlust, a lovely acoustic guitar solo.
Til These Eyes is a gentle ballad, very pleasant with more very rich acoustic guitars given a lush texture by keys. The additional orchestration provides a somewhat melancholic feel.
Prairie Angel is a real highlight and is a brilliant instrumental evoking the Wild West in all of its glory. Extremely imaginative, this is a track with no lyrics which speaks loud and clear to you, and a special mention should go to Amanda Lehmann for her superb guitar work accompanying the master himself. It moves along at a cracking pace, and the track then segues into A Place Called Freedom, which continues the American West theme, this time lyrically. Gary O'Toole sings superbly, and the whole track easily brings to mind the spirit of the Native American world view and the surrounding geography.
Between The Summer & The Coconut Palms is a thoughtful track, which is, surprisingly to me, given the nature of the music, inspired by a Peter Sellers sketch.
Waking To Life features Lehmann again, this time taking lead vocal duties. She sings very well, and this is a nice love song, with layers of rich Middle Eastern sounds to bring to mind romance filled evenings on an Egyptian beach.
Two Faces Of Cairo was written at the foot of The Sphinx, and it shows. Gary O'Toole provides a memorable drumming performance, invoking the modern day tomb raiders existing alongside the richer past of the country. King's swirling Egyptian keys provide the lead instrumentation.
Looking For Fantasy is the first track to feature Chris Squire and features some nice orchestration. It is pleasant without being remarkable.
Summer's Breath is another track to feature Hackett's mastery of the acoustic guitar. It moves, though, into what can only be described as a very heavy blues number. Catwalk is as heavy as Hackett has got for many a year, and the rhythm section of Squire and the great Simon Phillips on drums sets the tone throughout. A marvellous track, very much at odds with much of the pace of what preceded it, but not any the worst for that.
The album closes with its longest track, Turn This Island Earth. Clocking in at almost twelve minutes long, this is a science fiction inspired track, and, again, the mastery of King on keys especially manages to portray its futuristic theme. Squire and Philips again shine, and you really do, by now, begin to wish that the long promised Squackett collaboration becomes available soon. This is a real group effort, but, of course, led by some extremely complex Hackett guitar work. It is truly progressive, containing a multitude of time signature and mood changes, a percussive Greensleeves, orchestral work, and is truly awesome, and at times creates a massive wall of sound and also true menace, interspersed by true symphonic beauty. A great way to finish the album (I did not buy the bonus CD version), this is proof positive, if any were needed, that Hackett's creative drive and zeal remains as strong as ever.
I should also mention the fact that the Amazon download comes with a sumptuous digital booklet, featuring some marvellous photography.
Strangely, I haven't gotten around to reviewing Out Of The Tunnel's Mouth, the predecessor album. That, to me, is a solid album. This one is better. This is a very strong collection of tunes, well written and exceptionally well performed, with some fantastic highlights. Hackett shows he is a master of all things stringed, he sings very well, he writes very well with his wife and King (Steve Howe also contributed to the writing of two tracks), and the whole work feels like a collaborative effort between a host of talented musicians.
It comes very highly recommended to all of you who enjoy true mastery not just of the guitar, but of the true progressive genre as a whole.
PHIDEAUX - SNOWTORCH
Excellent album from prog purists favourite. We had to wait another seven years for the next one.
I've given this a lot of listens prior to reviewing this evening, because I do really think that a rushed review is a bad one, and does an injustice not just to the artist, but also to the integrity of the reviewer. Given that this album has been catapulted into the dizzy heights of one of the finest prog albums of all time, then a careful review is, in my opinion, even more important.
I thoroughly enjoyed the previous album, Number Seven, and gave it an “excellent” rating. I was, therefore, really looking forward to this, and was very grateful to the great man himself for allowing me an advance download.
Most of the hype, I am glad to report, has been fully justified. This is a fantastic album, and I think that Phideaux has managed to pull off the very difficult trick that only a couple of other outfits manage (The Flower Kings and Transatlantic come to mind); that is producing a deep and complex work that is so obviously a tribute to classic progressive rock of the classic era, but still managing to make it sound fresh, invigorating, and thoroughly modern.
Whilst parts of the album are a natural progression and recognisable from Number Seven, it is actually very different. The main track is a pure symphony owing more to the influence of acts such as Yes, Genesis, and Camel than its predecessor did to more crossover acts such as Oldfield and the like. It is some 36 minutes split into two segments, and at times the arrangements, very much keyboard and woodwind led in the first act, are stunning. The second act has guitars more to the fore and is far harder in terms of its sound than the first act. The solo towards the denouement is spectacular.
The album also departs from previous works in a very important, and welcome, aspect, in that this sounds more like a band than a solo artist with a crew of interesting guests. The vocal performance by Valerie Gracious, and the other female vocal harmonies, are stunning, and all vocal harmonies combine effectively throughout the suite with the grandiose music to create, mostly, a grand sense of orchestration and atmosphere.
There are two other tracks on the album. Helix is my favourite piece of music in its own right, with a delicious female vocal performance set against a dark and foreboding mood that reminds one at times of Celtic acts such as Enya & Clannad.
The album closer, the unnamed track number four, is a fun, Celtic folk rock-tinged oddity, as compared to the main title track, but no less enjoyable for that. It's actually a good way to come down after the intensity of much of what preceded it.
Whilst this is an excellent album, with some stunning arrangements, vocals, harmonies, and performances all round, there are some (admittedly few) moments, especially during Snowtorch Part One, where the attention wonders, and the music fails to completely captivate. For sure, when, as in the exceptional flute led passage, it reasserts itself, I personally feel that perhaps the suite is overextended.
These are, though, at the end of the day, minor quibbles.
Another excellent release from an artist who is deservedly one of the favourites in the wonderful world of prog.
VAN DER GRAAF GENERATOR- A GROUNDING IN NUMBERS
I wasn’t too keen on it in 2011, and it is a fact that this album is very rarely played any more.
The second of the modern albums as a three piece, and one that deals with the relatively easy (!) subject of numbers and mathematics, Van Der Graaf return seemingly in fine fettle.
Certainly, the opener, Your Time Starts Now, is almost commercial, or at least as near to that damning word that the band have ever come to. As with the second track, Mathematics, there is an accessibility that one never really associated with the band, and the three members play extremely tightly backing Hamill on fine form. Especially enjoyable here, as throughout the work, is Hugh Banton's organ work.
However, as ever, it is in the lyrical department that the band will be judged on this album. Hamill is about the only person on this still intact world who could make something as specialised, and, indeed, loathed by generations of schoolboys, as the subject of an entire album's worth of material.
What I will say, however, about this work, is that they miss David Jackson's madcap eclecticism on tracks such as Highly Strung. Sure, it's strong, and the type of music that we all used to enjoy spending ages "getting into", as opposed to the openers, but there is, in my opinion, something missing. Pardon the cliche, but it is almost as if this is eclectic by numbers, rather than the lunatic element that the four-piece band used to set them apart from many imitators. Having said that, even here, the chorus is toe tapping stuff. Strange days indeed.
Red Baron, the first instrumental of the album, is a short exercise in dark landscaping that, again, I feel, would have benefited from the more left field approach Jackson would have brought. It is, by the way, very reminiscent of the type of instrumentals Gabriel was experimenting with in the early 1980's.
Bunsho is impressive, and the type of track that would have been quite at home on earlier albums, or much of Hamill's classic solo works. Extremely dark musically and lyrically, the listener is never quite at home or comfortable with this one. In other words, classic Van Der Graaf.
Snake Oil is in the vein of the opening tracks, enjoyable but strangely and instantly accessible at first, but after a few listens becomes rather pedestrian. Again, by numbers rather than fierce and far reaching as I like the band.
Splink is another short instrumental, which finds the band experimenting, with Banton's keyboards especially completely out of synch with all else, set against an almost country & western backdrop. It has filler written all over it, really.
Embarrassing Kid is, I am afraid, well, embarrassing. More upbeat than much else on the album, it nevertheless plods along to a simple guitar riff and is almost a dead ringer for a Blur track, (honestly).
Medusa is quietly dark, with a quaint keyboard plinking over the main riff. Hamill also, probably unintentionally, sums up much of the album when he sings "what you see is what you get from me", something the band could never really be accused of in the past. Indeed, that was much of their charm.
Mr Sands is almost a return to form, featuring Banton at his best on keys, and Guy Evans at his jazziest on drums. Almost a paeon to earlier works, and certainly deliberately written and performed with a 70's feel in mind, it is good. Now, just where is that sax to round things off?
Smoke, if I hadn't checked the CD inlay, I would swear featured a certain Mr Bowie on guest lyrics and is a mercifully short piece of repetitive nonsense.
5533 is a lyrically treatise on the beauty and applied form of mathematics, with Hamill lecturing us against a slightly offbeat backdrop. Fun, without ever really threatening greatness.
The album closes with All Over The Place, which starts off as if it wouldn't be out of place on any Blackmore's Night or Renaissance album, such is the medieval feel of the harpsichord used. A more minimalist approach is used as the track kicks in, and it is certainly one of the highlights of this album, at least ending on a strong note both vocally and in the dark feel of the music.
I have listened to this band for many years. Some of their work, Pawn Hearts, Godbluff, and The Quiet Zone especially, rank amongst the finest albums I have in my collection. I am also not one to have a dig at a band simply for attempting to do things differently or in a more modern context, as a glance at any of my reviews of later "classic" band releases will testify.
However, I can only really rate this as a good album at best, and it is certainly absolutely non-essential. Much of it feels very formulaic and, in parts, extremely tired. When they are good, the band are still a match for almost anyone, but the first CD of The Present aside, nothing I have heard from the later albums makes me want to come screaming back for more. I also like it less and less the more I listen to it.
ARENA - THE SEVENTH DEGREE OF SEPARATION
Debut appearance for Paul Manzi as vocalist, which lasted a little bit longer than I thought it would.
It's been a six year wait for Arena's follow up to Pepper's Ghost, and this was one of my most anticipated albums of 2011. It is another concept album, describing the last moments on God's Earth of the subject, and his passing over into the other side, although it did not need an imaginative mind to figure this one out. Subtle it most certainly is not.
It also features yet another new vocalist in Paul Manzi (don't place bets on how long this one will last!), and the excellent bassist John Jowitt, recently departed from IQ.
It opens with The Great Escape, a massive slab of theatrical pomp. Our hero thinks he can escape the inevitable, and, as with much of this work, lyrically it is hardly very subtle, but it certainly sets the scene for much of what follows, namely an album purposefully looking to a more mass rock market appeal, rather than us sad old neo fans. It has a wall of sound, with Nolan & Mitchell working together particularly well, and Pointer & Jowitt combining to keep the riffs chugging along at a fair old pace.
Rapture (Explicit) has, gasp, swear words in it, hence, I suppose, the "explicit" tag. It is pure, glitzy, American pomp radio rock, albeit very well performed. It is, however, very much throwaway, with rather standard riffs.
One Last Au Revoir is far better, with a nice symphonic introduction, before the track moves along into a very commercial, and very good, rock track, with some nice keyboard riffs thrown in with a lovely, crisp, John Mitchell guitar solo.
The Ghost Walks also interests. It is a very nice, heavy, doom-laden track with an apocalyptic guitar lead that Mitchell carries off with some aplomb. In fact, his work on this track reminds me strongly of some of Hackett's finest work, and when the entire band join in, it is as close to classic Arena that is heard thus far in proceedings, with some lovely soundscapes backing the main riff.
A lovely piano at the close leads us into Thief Of Souls, an operatic track at its heart and clearly borrowing more than a little from Nolan's side project, before it morphs into a more standard rocker mid-point. The closing section is pure radio rock, but, again, very well performed.
Close Your Eyes continues this vein, and, indeed, expands it, with Manzi giving us a glimpse of a fantastic melodic voice amongst the otherwise operatic goings on. This track screams out to be played on FM radio, and fans of that type of thing will love it, and passages remind me strongly of a harder commercial, later period, Genesis. In fact, the whole mood of the track is quite out of keeping with the subject matter, where our hero is supposedly nearing his last breath moment!
Echoes of the Fall can be described as an intermission track lasting 2:26 minutes with a good, chugging, riff, but is far too stereotypical to be anything special.
Bed Of Nails is another very "standard", "heavy" rock track. Again, it's very well performed, especially with Nolan's lovely synth at the fore, but by this time you really are wishing for something a little more imaginative. You can't, though, take anything away from Mitchell. another lovely solo shows him to be at the top of his game.
What If? Well, this is, of course, the "What if I had done things differently", and "I should have" passage of the story. Full of regrets, very nicely sung, and utterly unimaginative in terms of the narrative. It is VERY commercial, and you really do need to check at this stage just who it is you are listening to. A contender for the Billboard Top Ten in days of yore, methinks.
Trebuchet is, as the name suggests, a veritable siege engine, with our hero banging at the door of death into the afterlife. Swirling keys, pounding drums, and doomy bass/guitars, together with suitably operatic vocals, paint another not altogether subtle track. However, the musicianship here is never anything less than supreme, and it does have that characteristic sense of Arena theatre.
Burning Down, and I'm starting to flag a bit here. It is, again, a track made purely for FM radio, and is as forgettable as most you hear on that medium. Also, can't Nolan be just a little bit more imaginative with the lyrics describing the passing over, something which is, after all, the supreme moment of our lives? Things do improve when he gives us (an altogether too brief) solo, but this album needed far more of that. After all, we have waited six years.
Catching The Bullet is the longest track on the album at 7:42. Our hero is going! Cue sympathetic & downbeat keys/riffs to start, before we go again with the toe tapping, anthemic, pace. It is actually very good, and Mitchell again shines at the end. Midway through, there is a lovely intermission with delicately thoughtful keys. As said before, though, this lasts nowhere nearly long enough. When they appear, we have Arena back, with passages that remind you strongly of classics such as The Visitor.
It all comes to an end with The Tinder Box, which, I believe, borrows a lot from the Hans Christian Anderson fairy tale of the same name. It is a lovely track, marvellously well played, with an incredible guitar lead, and avoids the formulaic stuff which went before in much of the album. The "The End" bit at the close is also a nice touch.
So, what to make of this? Well, I must emphasise that I have nothing whatsoever against commercial rock, as my reviews prove. When this album is on form, it is very good, and it is never anything less than well played, as you would expect from this group of seasoned pros.
However, this is Arena, one of the best of the modern prog bands, and, to be honest, I expected a lot more. Manzi sings perfectly adequately enough, but I can see why Sowden got so cheesed off with the direction the band were taking. It is, essentially, a commercial rock album, with a concept. Nothing wrong with that at all....except.... except.... you expect a little more from them.
It is not a bad album at all. Quite the opposite. It is a good album. It is, though, nowhere near the quality or imagination of classics such as The Visitor or Contagion, and ultimately that is a slight disappointment.
JON ANDERSON - OPEN
Single epic-length release, still pleasing to the ears.
Open, released as a single download only available on iTunes in 2011, is Anderson's first genuinely epic tome recorded since his last Yes release, Magnification.
Although other reviewers have, rightly, pointed potential listeners towards that fine Yes release for pointers as to how they might like it, I would also make the point that his own wonderful solo release, Change We Must, which had a London Symphony Orchestra as an integral part, is also very much an influence on this latest opus, as is the exceptional Olias of Sunhillow. That Anderson is promising a sequel to that work is a mouth-watering prospect!
What this single does, more than anything, is reassure us that Anderson's incredible voice has fully come through the ravages of ill health, and he fairly soars throughout. What is it about? Only he knows, as ever. Love, afterlife, Divine Mother, getting on, man. I shouldn't be sarcastic, because I have always really enjoyed the abstract, but loving, nature of the great man's lyrics, and here is no exception.
The playing throughout is accomplished, and the orchestration, especially, provides the listener with a wonderful symphonic suite. Think of Yes, but with the bombast stripped out (not always a bad thing).
This probably would not appeal greatly to those yet to appreciate the joys of Anderson's solo material, or his Vangelis collaborations. For the rest of us, though, this single is a wonderful late career addition to a fine body of work and is highly recommended.
MAJESTIC - LABRYNTH
Back in 2011, I enjoyed this album, and this is a band I subsequently lost track of, a situation I will rectify.
Available as a free download, this 2011 release from American multi-instrumentalist Jeff Hamel with vocalist Jessica Rasche definitely deserves a sight more attention than it has received thus far.
There are only three tracks on offer here, the shortest one being a mere 14:20 minutes long. So, you would think, a prog fans trip to nirvana! Well, yes, but, as with many such artists, the key question is whether such a product is both good enough musically and well produced to keep the listener's attention from wondering to other places. I am very glad to report that Hamel manages this tricky issue with some aplomb.
It is a brave thing indeed to open an album with an epic in excess of 31 minutes, but this is what is done with the title track. With its opening passage, with doom laden guitar and bass, what I thought I would have to look forward to was, basically, an Ayreon type of album, which is fine if you like that sort of thing, but it does belie what follows, and patience, and, crucially, several listens are essential here. Because there are many tempo and mood changes on offer here, and once Rasche settles into her vocals three minutes in, you start to pay a bit more attention, and there are more than enough changes here to keep the interest going, and, whilst slightly overblown in places, this is a very accomplished piece of music. At turns heavy, orchestral, and mellow, this is a very good piece of music, and if you are not tapping your feet and nodding your head in appreciation at the conclusion, then you are probably clinically deceased. It is certainly very comparable to some of Dream Theater's better moments.
Mosaic is a very dreamy, almost psychedelic, piece of rock music, and Rasche's wonderful vocals are very much in keeping with the mood of the music she accompanies. When Hamel unleashes his guitar solo, which is very good, he takes a mellow spacey track to an altogether darker place, which has, presumably, the desired effect of breaking up the tempo, before the keyboards and drum/bass takes the track back to its Floydian roots, and I do really like the altogether too brief vocal harmonies at the conclusion.
Album closer, Phoenix Rising, has a little bit of everything, and there are some quite lovely moments of music in a track completely free of vocals. There are, at the commencement, heavy passages clearly influenced by the likes of Dream Theater and Riverside, with maybe a touch of the more chaotic Yes moments circa Relayer, before the track develops extremely beautifully into a full-blown symphonic masterpiece, and the final four minutes has moments which make you shudder with the beauty of what you hear. Hamel is a very talented guitarist, and the atmosphere and pace he generates with the closing passage are wonderful to listen to.
In conclusion, this is a very good album which absolutely promises much for the future.
MAGNUM - THE VISITATION
I have recently reviewed the grand old band’s 2022 album, The Monster Roars. This is another fine album.
To be honest, Magnum, aside from interesting articles in magazines such as Classic Rock, disappeared from my radar since I enjoyed seeing them live supporting Marillion, of all bands, in Wolverhampton during the Season's End tour. Wandering around a record store at the weekend, I saw this and bought it on a whim as much as anything else.
I'm glad I did. Originally firmly rooted in the blues influenced classic rock of my youth, Magnum, with this new album, prove to the world that they are still relevant and capable of putting out music that draws from several influences. Here, we have a mix of everything from symphonic leanings through to traditional riffing hard rock, but all presented in a coherent and thoroughly enjoyable, if not exactly essential, release.
As befits a band recording since the late 1970's, the musicianship is never less than excellent, and it is clear to me that Bob Catley, at the grand age of 63, has a set of vocal pipes that put to shame many artists more than 30 years his junior. Tony Clarkin's wonderful guitar solo on Freedom Day raises the hairs on the back of the neck.
The album opener, Black Skies, announces their intent in glorious style. Elsewhere, Wild Angels is the type of track that will have me reaching tonight for a listen to some of the heavy rock I haven't played in far too long a time. It is simply a great classic rock song, no more, no less. The difference now, though, is that the band augment this type of music with some, at times, very interesting and thought provoking socially relevant lyrics to the world in which we live now. The Final Frontier is a very good example, which, incidentally, would grace many a fine "true" prog band's catalogue. The orchestration on this and Mark Stanway's keyboard work is exceptional, and utter symphonic prog.
Of course, there is some more standard fare included. Spin Like A Wheel, clocking in a over seven minutes, is at least two minutes too long. It's not bad as such, but rather ordinary AOR, which is fine if you enjoy that type of thing.
Recommended for those, such as me, curious to reacquaint themselves with a fine English rock band for the first time in an age, and those who enjoy both classic hard rock and more AOR orientated fare, fused with some decent symphonic leanings.
BELIEVE - WORLD IS ROUND
Written in 2011, I was not overly impressed with this.
Given the pedigree of this band, in particular the excellent Collage and Satellite, I was anticipating great things from this, my first new purchase of 2011. As it is, what we have here is an interesting collection of (mainly) short tracks, that are catchy and well performed without being standout.
No Time Inside, as a good example, is a track which could have benefited from more imaginative use of the violin on offer from Satomi, but instead strays close to dreariness, never once bursting out of its self-imposed shell. In contrast, World Is Round (Part Two - the first part is a short instrumental) is far more interesting, certainly in terms of its more upbeat manner which does remind one quite strongly of the material Marillion were recording at the time of This Strange Engine.
We get a slice of prog metal with the very short Cut Me, Paste Me, featuring the now, I suppose, obligatory growling vocals which, to these ears, grate more than pleasure. Again, it is well performed, but really does nothing whatsoever to grab the listener's attention. With So Well, we get folk rock/pop, very pleasant in its execution but feeling somehow out of place. Therein, I feel, lies the problem with this album. There is nothing at all wrong with diversification of sounds and influences on a single work, but this one feels rather like a band not really being able to decide just who and what they are. That said, though, the piano solo in this track is brilliant. At the bottom end of the scale, Guru is a mess of a track, featuring more grating vocal effects and aimless direction.
Quibbles aside there are highlights on this album, and the first track which I would rate highly as one which will be listened to for some time is Lay Down Forever, a marvellously layered piece of music which creates a suspenseful build-up to an intense second half. Mirek Gil's main lead solo is excellent and dark, whilst the dark and heavy backing by the remainder of the band is memorable.
I really like Bored, which is a simple pop/rock track that is effective in its simplicity. Another track that shines in its simple arrangements is New Hands, probably a little too commercial for many tastes, but to these ears an uplifting and positive track in contrast to a lot of the other fare on offer. In addition, the longest track on the album, and the one that comes closest to what we would describe as traditional prog, Poor King Of Sun Return, is a very enjoyable track, full of contrasting and interesting melodies, and the sort of territory I would like to band to explore more fully on future releases.
It would, in my opinion, be overstepping the mark a great deal by rating this as an excellent addition to any prog rock collection. It is, by and large, a good album, but one thing is sure. There will be many better releases over the course of the next eleven months.
RUSH - TIME MACHINE 2011 LIVE IN CLEVELAND
A live album too many for this old fan
So, on Thursday last, after a shopping session with the wife, I was asked if there was anywhere I wished to go before picking my mother up. Yes, I said, let's go to Tangled Parrot (the local independent record shop). Incredibly, she graciously agreed to this suggestion!
At said shop, I purchased this for the princely sum of £13. Even at the time I parted with said cash, I was asking myself; "do I really need another Rush live album?"
I have only seen this great band once, this on the original Moving Pictures tour. Fate, and other disasters, have meant that was the one and only time. So, to get my fix, I have brought virtually every live opus released since. My favourite remains the incredible Live in Rio, which is probably as close to the archetypal later Rush live album as you will get, in much the same way as Exit Stage Left was the archetypal early live document.
The selling point of this, in truth, was the fact it had the whole of Moving Pictures live. That album remains one of my favourite records of all time.
Sitting down to write this review brings a sense of disappointment. Is it a bad album? Well, no. As I have said in my reviews of latter-day Rush albums, they are incapable of doing bad. It is, though, disappointing. The production is quite terrible, and Geddy sounds awful in places. I also get the impression, especially in the period between the close of the Moving Pictures album and the "classic pieces" sequence, that we have a band merely going through the motions. Dare I say it, but Peart's drum solo verges on the boring.
Really, though, aside from the inclusion of a couple of tracks from Snakes and Ladders (which, btw, is by far and away my least favourite album by the band), most of this stuff can be heard elsewhere, and a damned sight better sounding as well.
It is probably heresy to say this, but I will say it anyway. Every single band has a shelf life. On this evidence, Rush is approaching the end of their days. This live album is one for collectors only. People, like me, who really must have a complete sequence of a career. Otherwise, do not bother. Get the better sounds and releases of a wondrous career.
METHEXIS - THE FALL OF BLISS
Satisfying album from Greek progger.
As other reviewers' have pointed out, Greece is not exactly awash with progressive rock bands, which is somewhat surprising given the success of Vangelis (yes, I do regard him as prog) over the years.
This release, The Fall Of Bliss, is the brainchild of one Nikitas Kissonas, who plays all instruments, barring drums, which feature the talents of Nikas Miros, who is a talent for sure. As with all albums by multi-instrumentalists, the first stopping point in any listen and appreciation is whether said artist is up to the mark, because, in general terms, it is fair to say that most musicians tend to specialise, and specialise well, in a chosen field.
Well, I am happy to report that Nikitas more than measures up in this field. No, he is no Mike Oldfield (I doubt he would welcome such a comparison, actually), but what he has given us here is an album that is not only very well produced, but played with consummate skill, especially the guitar and bass work, in my opinion.
About my only real gripe is the vocals. They are not uniformly poor, far from it, but, at times, they are not as effective or strong as the music which accompanies them, and I would hope that Nikitas might consider bringing in a more seasoned vocalist for any future project.
The album brings with it a wide variety of styles and tastes and is an enjoyable journey for it. Influences include clear Porcupine Tree references, some wonderful jazzy eclectic turns, and the type of melodic symphonic prog that I have always enjoyed. My personal highlight of the album is the fourth track, Lines On A Bust, which is simply sumptuous musically, with a delicate piano leading us into the track, whilst the vocals do rather shine here (in spite of my earlier comments), and the whole effect is rather haunting, and will deeply appeal to those here who appreciate some of the more intelligent post romantic music.
The main event is the title track itself, which is split into four movements. The opener is a gentle acoustic guitar piece, with birdsong accompanying. What follows is, in the main, rather brooding, but never less than engaging, with an eclectic array of moods and sounds, verging from the primitively heavy to rather gorgeous. I just love the orchestral pieces during the third movement.
All in all, this is a very satisfying piece of work which, whilst not setting the world alight, is very much, in my opinion, a solid base from which this clearly talented artist can move forward and build on in future releases.
This is a good album which I have no hesitation in recommending to those who are on the lookout for new talent and something a little bit different.
My thanks to Nikitas for sending me the cd to review.
WOBBLER - RITES AT DAWN.
Shockingly unoriginal fare.
An album which is extremely highly rated, and, so, with my Spotify subscription in hand, I was looking forward to listening to this to see if it is worth parting with my hard-earned cash for the CD.
Well, if your idea of heaven is to have a band in 2011 doing a replica (note the word replica, not influenced by or moving forward) of Yes circa 1970 to 1972 and sounding for all the world as if they recorded the said work in the Large Hadron Collider Tunnel, then this is, undoubtedly, a masterpiece as other reviewers have stated. Regrettably, for this reviewer, this is not my idea of prog heaven in 2011, and I fail to see the appeal at all.
The vocals are not, as has been mentioned, reminiscent of Jon Anderson. Thankfully, the band avoid that trap. No, the lead vocals are such a dead ringer for Squire, you must look twice at the credits to see if the great man himself has not done a bit of moonlighting. Come to think of it, the very strong Rickenbacker bass by Hultgren is also very much in the Squire mould, but I say this as a compliment.
There are many Scandinavian bands who produce some great symphonic prog, and I count The Flower Kings especially as amongst my favourite bands. They wear their influences on their sleeves, but, having said that, they do mould their influences and create an utterly unique sound with it. It is a recognisably TFK sound, not a Yes sound. You can say no such thing about this, and, whilst they are undoubtedly a very talented bunch of musicians, what you get in a track such as In Orbit is basically Fragile in drag with Squire singing lead vocals instead of Anderson and, quite frankly, a mess of a track. It worked at the time for Yes - nobody had done anything like the spaced-out jazz rock fusion that they produced then. They were also the best at it, and this lot could not, even by their most ardent fans, be described as such. Yes, also had, amongst all the noodling and experimentation, a definite structure to their songs. This does not. It is just noodling for the sake of it.
The melancholic This Past Presence changes the mood a bit, in favour of debut and Trespass era Genesis, flute and all chucked in for good measure, and the intro is rather pleasant. Unfortunately, what could have been a pleasant, if rather unoriginal, pastoral piece swiftly bursts into life with Howe, Wakeman, Bruford, and, especially, Squire and we are back to Fragile.
It is not often that I condemn bands for their influences, and neither should we. I love “neo-prog” rock, but what neo detractors need to realise is that the best bands within that sub-genre took their influences (mainly, but not exclusively, Genesis) and turned them into something both special and unique to that band. As an example, I give you Marillion and Pendragon. Both were clearly, in the early days, influenced like this, but no two albums by those bands sounded anything like each other.
So, this album is not symphonic prog. It is a “neo prog” album, and a very poor one at that. Whilst the musicianship is never anything less than good, the vocals are annoying, the production is shocking, and there is barely a trace of originality here at all, and the latter is the biggest sin of all.
This album, in my opinion, really is for collectors only - collectors who must own absolutely every version on God's earth of The Yes Album or Fragile. For those who like their prog, like me, to have a semblance of originality and a well-produced album, then please stay away. Spend your money on the far better releases of 2011.
DISCONNECT - INDIVISION
Very good album with a variety of moods and influences.
This is the latest project by the duo of Erich O'Dell and Brian Eschrich, with the name of the band emanating from the distance between them. You really wouldn't have thought so from listening to this, and I suppose that is a testament to the bond between them and the clearly professional use of modern technology in the writing, performing, and production of the album.
This work is basically one long slab of music running at about an hour long, with the main suite bookended by a prelude and finale. However, they have, very wisely in my opinion, split up the entire suite into clear and distinguishable sub parts, a la Rush 2112 (and there are very strong shades of that great act and album in the prelude and finale). There are, therefore, eleven divisible parts to Indivision the suite, and there is a whole lot going on within. The duo has pulled off the very difficult task of constantly engaging the listener throughout, and the only track that, to these ears, feels as if it really doesn't quite know what direction it wishes to go in is Creeping Fade. However, even with this slight whinge, there is a lot to enjoy in that track, especially when it starts to rock very heavily.
This is an original album, although very firmly rooted in the North American tradition of prog. You do, therefore, get clear reminders of the band's influences, which I would place as Rush, Spock's Beard, and Dream Theater especially, with flashes of Porcupine Tree and King Crimson (Perpetual Decay is extremely Crimsonesque), also quite evident. Yes, I know the latter two bands are not North American, per se, but both have made albums in that tradition, especially Crimson with their personnel in latter albums.
Whilst the music is, in the main, harmonious and rather upbeat (I especially enjoy O'Dell's guitar work, which contains frequent flashes of genius), the lyrics are, by contrast, somewhat dark, and strike me as the writer (O'Dell) attempting to come to terms with the growing passage of time and relationships. There is certainly some very pleasing poetry at play here, and this is, lyrically as well as musically, a mature body of work. O'Dell's vocal style reminds one strongly of Neal Morse, and he is an accomplished vocalist. Equally, Eschrich is very clearly a strong percussionist and drummer, and I do enjoy his orchestral keyboard effects, and especially his piano segments, which very strongly complement the guitar. For no better example of this versatility, listen to the fantastic conclusion of Time's Abyss, backing a superb lead guitar riff, acoustic guitar, and strong rhythm, and the spacey symphonic passage on Closing The Book.
Finally, what is nice about this LP is the fact that, unlike many of the works sent to us to review, the production is always crystal clear, and no listener could possibly criticise the band for clarity of sound or performance. This, obviously, makes a huge difference in terms of the listening experience, and they are to be congratulated.
I like this album and enjoy it more with each listen. It is very good, and passages contain sheer excellence, with absolutely no filler or throwaway tracks at all. For evidence of that, listen to the marvellously spellbinding instrumental segments, Rapture and Singularity.
Lots of influences, originality, and music veering from the extreme mellow to commercial rock and thence to heavy prog make for an extremely pleasing album. There is, I hope, a strong future ahead for this act.
My thanks to Erich O'Dell for making this CD available to me for this review.
A BIG GOODBYE - SOUNDS AND SILENCES
Slick and confident debut from American outfit.
An album and band which appear to be making some waves in the world of prog, and listening to this again tonight, it is very easy to see why. For this 2011 debut from American band A Big Goodbye is about as slick and polished a new work as I have had the pleasure to listen to in a while.
The band are a trio, a la Rush, and like that great band, they certainly make a lot of noise very well between them. It would be interesting to see how all of this transpires live.
There are many influences in their music, and it ranges from almost psychedelic late 1960's, to Floydian passages, to commercial rock, to very heavy, almost metal, prog. There is a whole lot of stuff going on in here.
Opener, Thinking Out Loud, has a very mellow beginning, with acoustic guitar and gentle vocals that remind me strongly of Floyd circa 1970/72. The track then bursts into life with a pounding riff but accompanied by some very adept Spanish guitar backing. It settles down into a very good heavy rock track and is quite commercial (this, as those who read my reviews know, is very much meant as a compliment). A very good start, with all extremely well executed.
Solitude follows. This has a very nice mix of late 60's effects and tone, with the modern sensibility of Porcupine Tree. It is very well performed and seems to me to be crying out for some decent radio airplay in their homeland, because I think it would catch on very fast. There are some classy riffs with some very nicely performed keyboard work.
The Great Divide clocks in at just short of ten minutes long, and there is a lot going on here, and it is this ability to change the mood, tempo, and performance that keeps a very good track fresh throughout. I really like the acoustic guitar work on this, and on the album as a whole, and the production is so slick that the acoustic backdrop never gets lost amongst the electric riffs. At around 7:50, a sax comes in, and you really do leap up in joy at the audacity of this extremely well performed and clever change in the track. A highlight of 2011 to be sure.
The woodwind theme continues at the start of February Girl, with some fantastic oboe that almost gives you a Supertramp feeling before the track progresses to a standard American rocker. It features some magnificent keyboard work which, in my opinion, should certainly feature more in future releases.
I am less keen on the two tracks which follow, The Door and In My Dreams, and I admit that my attention still wonders somewhat after a few listens now. They both strike me as being very formulaic heavy rock tracks, with very little progressive tendencies at all. The Door does feature a very good guitar solo, and both are very good if you like that sort of thing. However, I get the feeling that these two were possibly early compositions by the trio before they matured. I might be wrong, but that is the impression I get - heavy rock by numbers.
Thankfully, matters recover with a thrill on the closer, and longest track at over 14 minutes long, Memories. This is far more like it. Yes, there are still some pounding riffs, and the drums and bass rhythm section, in the heavier passages, sound fantastically strong. This is a track, though, of very many changes in tempo. It is rather melancholic, and features some more extremely well performed woodwind, keyboard, and acoustic guitar work. It is this type of track which showcases this young band at their best, the ability to create a genuinely moving and clever piece of music that manages skilfully to avoid falling into heavy rock cliches. You will love the closing percussion segment, simple but very effectively performed.
What does strike you about this debut is its very audacious confidence and, very pleasingly, the extremely high production values instilled. All is as clear as a bell, and I do not think it will be too long before this talented trio will be moving onto bigger things. The acoustic passages are lovingly rendered, and the two formulaic tracks aside, the heavier passages are engaging and very skilful.
A very pleasing listen, I really like this album.
ATHELSTONE - THE QUIET BEFORE THE STORM
Debut, and only, album by Maltese outfit.
The Quiet Before The Storm is the debut effort by Maltese trio, Athelstone, and is available as a high quality download from their Bandcamp site for "name your price".
A couple of music sites rather misleadingly describe this outfit as belonging to the progressive metal family of artists, but don't be fooled by this, for this is a truly eclectic effort, with musical moods and influences from far more than bog standard metal. Indeed, the title track, at over twenty-two minutes long, veers from some intense psych rock a la Floyd's Saucerful of Secrets to Meddle era, to some lovely early Genesis type symphonic rock, before closing in a far harder vein with passages very much inspired by latter day Crimson, or even the type of music Dream Theater would be pleased to put out, featuring some pounding bass and intense riffs.
There are only three tracks on this work, but with two clocking in at over twenty minutes long, you certainly get a lot of listening here, and, in fact, I personally would have preferred to have seen things broken up a bit into slightly shorter segments. The second track, and the shortest, Jaaz runs to a little over eight minutes long, and as its name implies, this is a laid back, jazzy effort, and is pleasant listening on a sunny Spring evening without ever being overly challenging. If you are a fan of meandering, lyric-less, female vocals, then you will enjoy Dana McKeon's contribution here. This track, in fact, is a sure-fire certainty for inclusion on Jazz Music Archives, until half way through, we get a break from the ambience into a Frippesque outburst. The onset of the saxophone backing this provides us with a glimpse of how the early seventies Crimson line-up might have sounded had they still been together.
The final track, Coming Full Circle, is the longest at over twenty-three minutes duration. It has a lovely ambient feel to it at the start, with birdsong and effects, and a dreamy guitar lead backed by more jazzy rhythm, sedating the mind. As with the opener, the moods change starkly, from ambient to psych, to pure Crimson, to downright metal, but, I feel, with very little direction or purpose, almost as if the personnel have locked themselves away for a while and produced what is, in effect, an extended jam session committed to disc. It should, though, be stressed that it is all extremely well performed and very well produced. The guitar screams at thirteen minutes in are particularly haunting.
It's just, for me, the crucial test for a mainly instrumental piece is whether it manages to tell a coherent story in the absence of lyrics, and this one, I'm afraid, fails that test quite strongly.
A good album, but not one that will set the world alight, and very non-essential. Less is, I feel, sometimes more, and this band would benefit from this for future works.
CHEST ROCKWELL - LAUGH AND THE WORLD LAUGHS WITH YOU
Decent enough EP.
Originally intended to be a full-length release, this EP by American outfit Chest Rockwell was released in this form owing to their producer having to take time off for impending fatherhood! Well, I hope that all goes well with that, and I will say here that his knob twirling work is always quite superb on this release, thus allowing the band to avoid the trap of a poor sounding work that many other newer outfits can fall into.
When opener Black Reign came blasting out of my speakers, I had to revisit the band's profile to check that they really were classified as neo-prog, because this is HEAVY. It is basically a heavy prog track, verging on the prog metal, and as far from traditional neo as you are likely to get. A pounding bass, drums, and riffs assault your senses, and this is full of youthful energy, with enough industry to make for an impact start. However, there are also enough melodic interludes amongst the riffs to make you sit up and realise that this is a lot more than a "by numbers" headbanging act. The solo guitar riff is very good, and the lengthy instrumental passage that closes the track is very impressive.
Juggernaut follows, and vocals aside, I hear more than a bit of latter-day King Crimson here, before more "standard" riffs kick in. As with the opener, there are some nice guitar breaks amongst the riffing, but I find this a bit unsatisfying.
Hogwash changes the complexion of the EP completely, and is very pleasing as the "thrashing" of Juggernaut gives way completely, and is replaced by a very thoughtful, and understated, piece of music, featuring delicate keyboards, guitar and bass leading to some excellent solo guitar work (the solo guitar work by Seth Wilson is consistently excellent throughout the album). This track is somewhat mournful, without ever descending into depressing music, and is a true highlight and a clear taste of what the band are capable of. Nick Stewart, especially, creates a magnificent bass line to move the track along, and the riff at the denouement is excellent, reminding me very much of Rush in their finer moments.
Ultimo Hombre returns to extremely heavy territory. it is basically a modern heavy metal track without the prog balls attached. Good for what it is, but rather forgettable if I am honest.
Cut In Half closes the work, and is the best track on the EP. This piece, to me, very cleverly combines many traditional and modern influences in the band's music. Passages are at once Crimsonesque, and others Floydian, and the vocal performance of Josh Hines is the best by far on the work, simply because of its more laid-back approach. A far more mature piece of music than the first listen suggests, this is, at the end of the day, very impressive, modern, heavier progressive rock, and the more frontal keyboard work does give one more than a hint of bands such as Arena in its pomposity, and I say this as a compliment.
There is more than enough in this EP for me to look forward to its successor in the months to come. It is certainly a true shift onwards in comparison to some of the older pieces of music (which can be listened to on the band's Bandcamp site).
Do not be too fooled by the neo prog tag assigned to them. This is a modern heavy prog album, interspersed with passages that, with careful thought and nurturing, can move this band into the sort of commercially fruitful territory currently occupied by the likes of Haken and Riverside. I would also like to see more use of melodics and, certainly, keyboards.
THE ANABASIS - BACK FROM BEING GONE
Grand theatrical stuff from outfit sadly not heard from since 2011.
When I first read the sumptuous booklet that accompanied the digital download for this album, my initial thoughts were that I had stumbled upon a modern-day Spinal Tap meets Meatloaf. This was reinforced by the first couple of listens as well. For Back From Being Gone, the debut from this American outfit, The Anabasis, is nothing if not grandiose and epic in scope.
It is a concept album, of course, giving us a dissertation on events and people in the ancient world. What I am glad to report, however, is that patient listening and growing accustomed to the album rewards itself, and the praise that is being heaped upon it across the prog world is, by and large, very much deserved.
The historical epic opens with Rome, and the Prologue sets the scene slowly before the track bursts into life with Back To The Future Part I, featuring soaring Hammond Organ and heavy riffs. The lyrics are somewhat stereotypical in parts ("sex and debauchery up on the hill", indeed), but these are redeemed by the very interesting poetry behind the scenes from the mother's eye. The band's symphonic and melodic sensibilities come to full flow in Part IV, The Final Word, with a guitar solo rather reminiscent of some of neo's finest moments set against a tuneful piano and soulful lyrics, before the heavy riffs kick back in with a choral keys backdrop which reminds me a lot of Arena's work. All in all, this is a nice mix of the grandiose and melodic, and the latter is how it ends with a very nice orchestral violin.
Fly takes us to the story of Icarus, and I really like the bitter nature of the lyrics, which could easily be transposed to the ills of modern society. Musically, this is a good, heavy, track which has, at its heart, some very nice keyboard work and guitar solos, whilst Per Fredrick Asly's vocals are quite excellent.
Carpe Diem can be translated as "seize the day” and is based upon a poem by Horace. Musically, this is a triumph and a very nice track which reveals further the band's symphonic orchestration blended with some melodic, almost AOR, boundaries, creating a satisfying wall of sound. This is a clear highlight of the album and gets better with each listen.
With Vikings, we are transported a few centuries forward to the blood and thunder of the Norsemen. It commences with a monastic choir (I said it was epic in scope) before we have a history lesson by a narrator set against a riff which has, at its heart, a superb bass line. At seventeen and a half minutes long, this is a massive track. Part I sets the scene very well, with a suitably doom-laden set of riffs accompanying the invasion of England. Part II is even more menacing, and it takes the listener very cleverly to the direct fears of the victims of the piece, as a family discuss the impending disaster, before the vocals describe the victory itself, with a fine riff to push the issue home. The lovely piano returns and calms the track down in Part III, and it is wonderfully executed as you live the warriors returning home to the fjords. Wonderfully melodic, it is this that, more than any other sequence, proves that there is far more to this band than meets the eye, and the guitar solo is a real treat. The track ends on Part IV as a heavy piece which asserts the pacification of the invaders in their adopted home.
Epiphany can only be described, lyrically at any rate, as a deeply personal rant, with the swear words to match the feeling. Against whom, I know not, this track was written by Barry Thompson (George Andrade wrote the remainder of the lyrics), and he is clearly not very happy. As a musical piece it creates an interesting sense of theatre, although I personally could have done without the metal growl/rap.
The album proper closes with Egypt, which, at nearly twenty-four minutes long, screams out epic. It has five parts, and, as with much else here, it requires repeated and patient listening before you really "get it". I don't care for Part I too much, which I feel is the only piece to perform "metal by numbers", but it does, at the same time, create a middle eastern flavour. Part II is a huge improvement, with far more imaginative riffs, and it tells the epic story of the Battle Of Actium between Mark Anthony and victor Octavian. In Part III, you are once again taken by surprise by the lovely melodic sense and playing, mixed with some fine vocal harmonies. The symphonic arrangements which follow are excellent, but the very best is saved until last. Back To The Future Part II is incredible, and as good a symphonic track as I have heard all year (and it has been a very good year musically). The guitar solo is simply incredible, and the whole closing arrangement is both stunning and whimsical at the same time, reminding me a great deal of some of Yes' triumphal moments, and I love this segment more each time I listen.
Barry Thompson and George Andrade, together with Ryo Okumoto, who is a stunning keyboard player, and Per Fredrick Asly, and a whole host of guest stars, including Lee Abraham who was responsible for much of the knob twiddling, have combined to create a truly memorable album. It is a very fine line to tread between parody and serious artistry at times, and I really do think that in the hands of lesser exponents, this album could easily have fallen into the former.
As it is, this is a work to be taken deeply seriously, and is, to me, a fine marker for what I hope will be critical and commercial masterpieces in the future.
There should be recognition of the sheer bravado in releasing such a work as one's debut. It will appeal to, and be enjoyed by, any reader who loves their intelligent prog combined with a sense of theatre, the epic, and melodic prog all rolled into one huge package. In other words, most of the visitors to this site, I guess.
I will here place on record my appreciation to the band for making the download available to me to review.
YES - FLY FROM HERE
A surprisingly quite positive review from a chap who thought Jon Anderson was akin to prog deity.
Well, here we go. A new Yes album, always a big event in the world of prog. Except, of course, this one is of more interest than most, because it contains no Anderson or Wakeman, the former being by far the biggest talking point, given that Wakeman has left the band with more regularity than a serial adulterer.
It is no secret to those reading this that know me well that I adore Anderson's work, and, indeed, he and the band were my introduction to progressive rock music. I did not, and still do not, like Drama, the album they made with The Buggles after Anderson & Wakeman left in a hissy fit in 1980.
So, scepticism abounded in Lazland at the thought of this release. I was always going to buy it, simply because I have every studio work they have released, and a fair proportion of their live works as well. But is it any good? Am I able to put aside my natural hostility to a work without my hero and behave like a professional with dispassionate interest, as a reviewer should?
Well, I am glad to report that the answer to both of those questions is a resounding yes. This album is not a classic release, by any stretch of the imagination, but what it is is a very good piece of work.
The main focus is, of course, the Fly From Here suite, which takes up what would have been a complete side on the old vinyl. Split into five segments which flow into each other naturally, this is a marvellous piece of music, and a hugely enjoyable musical journey. I have summarised my thoughts on the band members below, but the one thing that absolutely screams at you with this suite is the mature and quite exceptional vocal performance of Benoit David, the bloke Squire picked up from a Yes Tribute band. He excels, and he excels, by the way, because he does not on this work try to be something he is not, namely Jon Anderson. There is only one genius by that name, and he is utterly unique. David on this suite manages that quite difficult trick of making a Yes epic come off without at any stage becoming a mere clone. Good on him!
The story of the suite is well told, and the slightly annoying in places Bumpy Ride aside, this is undoubtedly a YES track, and a damn good one at that. At times, in fact, much to my surprise, it soars and takes your breath away, with the hairs on the back of your neck standing up. Parts of We Can Fly (an excellent single in its own right), Sad Night At The Airfield come to mind, but especially the We Can Fly Reprise, which is quite wondrous when it shouts out from the speakers.
This being 2011, and not 1970-odd, the hope that this high standard might be continued into side two is not, I am afraid, realised. It's not awful, far from it, but neither does it come anywhere near to the brilliance of side one.
The Man You Always Wanted Me To Be is, in totality, a Squire creation, including the rather paunchy great one doing the vocals. I’ve always liked Squire's voice, and he harmonises with David to good effect on this commercial, but enjoyable, track. It's very upbeat, thanks, I think, to the fact he recently became a father again at an age when most people are moving to their new retirement home.
Life On A Film Set is a very enjoyable track, which builds up very nicely from a deceptively quiet acoustic introduction. Once again, David shines on this, singing wholly within his range, and Downes contributes keyboards that remind one more of Asia than Yes, but no bad thing if, like me, you like Asia.
Hour Of Need is the shortest standalone track, and, for a moment you think that you are listening to I've Seen All Good People, transported back 40 years with Howe's unique work. When the main piece segues in, you come back to earth and listen to what is a pleasant, but utterly non-essential, ballad featuring more distinctively pleasant vocals and harmonies. This track is probably the closest the album comes in feel to Talk, which, again, is no bad thing.
Solitaire is, I think, the Steve Howe "I Insist upon This Being on In The Contract" bit. It is, of course, very well played. It's Howe, after all, and, you never know, you might get to hear it instead of the interminable Clap at the live shows, but, really, what is the point? It is completely out of place with all else on the LP, and should, instead, have been kept back for his next solo album.
The album closes with Into The Storm. Elsewhere, it has been raved about, but I don't really get it. Perhaps because it reminds me of much which was on Drama, I don't know, but I feel that this is a very weak track, repetitive, and like a McDonald's - thrown away in the bin and forgotten about after finished. I do like the Fly From Here bit at the end, though.
So, how do the chaps acquit themselves?
I've already raved about David. He is the unexpected star of this album, and it is wonderful what a good studio and producer can do with a voice if the terrible live videos on YouTube are to be judged against.
Squire, as ever, plays a mean and thundering bass, and his vocal harmonies, and lead on one track, are as good as they ever were.
Howe is, well, Howe, He plays superbly without ever really breaking into a sweat. I think he could have contributed a lot more to this if he had felt minded, but as it is, you feel he is doing it by the numbers. Being Howe, this is still superb musicianship, but I think he could have done far more.
Downes struggles to be heard at times, but when he is, he is what he has always been - a very good keyboard player who, regrettably, comes nowhere near the virtuosity of Wakeman or Moraz. I like Downes in Asia; I just don't think he is a good Yes keyboardist, and Igor was a far better one when Rick was off sulking.
As for White, if it wasn't for the fact that he is mentioned on the credits, I wouldn't have thought he even appeared on this album. Quite how such a credible and important drummer could be so silenced in the mix is quite beyond me. Was it him or the production? Well, given that Trevor Horn has done his customary bang-up job in the studio with this album, I can only imagine it is the former. Very strange, and a great shame, because the rhythm section of the band has always been one of its absolute strengths.
So, how to rate it? Well, the suite is excellent. Whilst the rest isn't quite so bad as to warrant a poor rating, neither does it come anywhere near the main course.
So, a good album which I would happily recommend.
There: I've done a "good" Yes review without Anderson. Time for a long lie down, methinks!