TRANSATLANTIC - KALEIDOSCOPE
The review below was written in 2014. In hindsight, this is not an album played particularly frequently, but I did enjoy revisiting the first CD earlier on today when editing this review.
Transatlantic return with their fourth studio offering, and are now, it would seem, becoming more of a permanent band and fixture than occasional "supergroup".
There are no real surprises on this album, because the very raison d'être of this band is to put into a recorded environment the love and appreciation of the grandiose, i.e. classic symphonic prog, perhaps the most grandiose sub-genre of music ever invented. Put it another way, if you loved the first three, you would love this. If you didn't, well stay away, really.
The album's format is more akin to Bridge Across Forever, in that you have three shorter tracks bookended by two humongous epics, the title track to close, and Into The Blue as a gorgeous opener. I love Neal Morse's voice, and he is at his most uplifting here, alongside some lilting Stolt guitar work, and Trewavas playing that bass of his more like Squire than ever, with all glued together by Portnoy. It is 25 minutes of pure musical joy, that never once loses the listener's interest (Kaleidoscope as a track does in parts. I regard it as being at least ten minutes too long). This is the natural follow up to Whirlwind, and, as with that track/album, if you can learn to accept that Morse lyrically is now rather predictable, erm, spiritually, then all is well. Of course, not all do like it, but I can live with it.
Of the three shorter tracks, my favourite is the beautiful Shine, a ballad in the finest tradition of prog power pop, and a great Morse Stolt collaboration. Black As The Sky has Flower Kings indelibly stamped all over it, and is simply good fun, whilst Beyond The Sun is introspective and thoughtful (in a new age Christian sort of way).
So, to the second CD, the now obligatory set of covers. When these started, they were a joy, a treat, an affirmation of the love of the varying influences this group had. Now, though, I am starting to find them ever so slightly tired and tiresome, to the extent that I will limit myself in future to just getting the original material.
I am a little biased here, in that I have never enjoyed hearing anyone sing a Yes song except Jon Anderson, and so it is here. The musicianship on And You & I is exceptional, and note perfect, but, sorry, it simply does not lift me to Anderson heights. Roine is many things. Jon he most certainly ain't. The same comments apply equally here to Nights in White Satin and Justin Hayward.
In fact, of all here, I find Goodbye Yellow Brick Road (a highlight of a superb Elton John work) to be the most interesting. The rest is, well, alright, but will not, I fear, be a regular player on the Lazland disc player.
I think the original cd is excellent, and as original as retro symphonic prog can possibly be. The playing is excellent, and most of it holds you throughout. The covers cd, though, is for completionists only. Another good, strong, showing. It will, though, be interesting to see whether the next album takes the band into any fresh territory.
FREQUENCY DRIFT - OVER
Excellent album from German collective.
I happened to listen to this, their latest work, on the excellent website, Progstreaming, a couple of weeks ago. As has happened on more than one occasion, what I heard was so good, it was not long before the cd had arrived in the post. It will not be that long, I suspect, before I expand my collection with more of the band's work, because this is a special album.
From the belting riffs of opener Run, to the gorgeously expansive wall of sounds heard pretty much everywhere, with the magnificent use of the electric harp first heard on Once, but utilised throughout the album, with traditional harp, penny whistle, acoustic guitars, flutes, all combing with electrical rock instruments, this band produce a sound which is extremely difficult to categorise and is rather unique.
Them is the best example of a very catchy tune that is, also, a rather challenging listen, with lush harmonies against a backdrop of multiple instruments creating a very symphonic soundscape. The extended instrumental closure is thoroughly modern, perhaps reminiscent in parts of Radiohead, with added orchestration. A huge amount of change occurs in just under eight minutes, and this is a feature which is happily repeated throughout the entire work.
They are not averse to giving us tunes which, in a world of musical justice, would be monster commercial hit singles. Sagittarius A* is, perhaps, the best example, being very catchy and a delight.
Suspended is the type of track Tull would almost certainly produce now if they were starting out as a young band. Very commercial at its outset, it has a magnificent flute interspersed with more crashing hard rock riffs, and morphs into a crashing wave of riffs and futuristic sound effects.
Release has an almost sinister edge to it, with sharp and biting female harmonies mingling with a deceptively simple piano lead, before the track once again morphs, now into a New World cornucopia of desert sounds that entrance and beguile you. When the pace picks up at the end with the introduction of a ghostly electric guitar riff, you lose all sense of doubt as to where this lot are coming from. They simply exist to create musical landscapes and are utterly majestical in doing so.
This is truly confirmed by what I regard as one of the finest epic tracks I have had the pleasure of hearing, the incredible Memory, which is ten minutes of the lushest music you will ever hear. From the opening bars of Isa's descriptive and mournful vocals, to the orchestration, to more Tull-esque manoeuvrings, including riffs Barre would be proud of, to keys which do remind one of latter day Banks, to expressive guitar riffs, to the wonderfully expansive symphonic sounds that the band are so adept at, this is a track which simply brings joy to the listening soul, and they have also pinned down the key to such tracks, in my opinion; they know when to stop, they know that such tracks can continue simply for the sake of length, and this does not, and is all the better for it. Memory is, like the album, a track which will live in my memory, and be played many times, for a long time.
Over is an album which is a joy to listen to, from an outfit I am very pleased and proud to now have as part of my collection.
Quite excellent and very highly recommended to those who like......well, intelligent music. I can put it no better than that.
MOSTLY AUTUMN - DRESSED IN VOICES
Their masterpiece, although 2021 also saw the release of another one in Graveyard Star.
I have every Mostly Autumn studio recording made, and a fair smattering of live products, as well. It is fair to say, then, that I am a fan. I was tempted firstly by the charms of Heather Findlay but was not particularly phased by her leaving and being replaced by her old backing singer, Olivia Sparnenn, because I had listened to her doing a sterling job on main man Bryan Josh's solo extravaganza, Through These Eyes. My optimism was rewarded when the band put out two extremely good albums in Go Well Diamond Heart and The Ghost Moon Orchestra.
However, I was still awaiting that masterpiece, that definitive statement, and, indeed, have stated on more than one review that this band seemed to be searching for that standout album, that absolute mission statement which screamed out buy me, because this is my best.
On Dressed In Voices, they have, finally, achieved it.
Dressed In Voices is a genuine concept album, and it is fair to say, has as its subject matter a dark state of affairs. It is the story of a murder, a gruesome murder, and how that murder encapsulates an entire lifetime of memories, dreams, hopes, and unfulfilled expectations in those seconds between the act itself and the eternal time to pass on. For no better example of what I mean in terms of yearning and damned intelligent lyric writing (set against a very dark undertone generated by the band), then hear Home, the song that Josh was born to write, and is heart rending in its emotion. The guitar solo is fantastic as it soars.
Like all the finest concept albums, Dressed In Voices deserves to be heard in its entirety, and treated as one organic whole. I have waited for quite some time, and more than a few listens, before setting down my thoughts to this review, just in case the thrill of the first few listens wore out. It didn't. This record gets better with each single listen. It cries out intelligence.
More than anything else, you know, it is an uplifting piece of work. How? You might well ask, given the subject matter. Well, the answer is easy, really. As good as the band are (and Iain Jennings, in particular, has never sounded so good on keys), the core of all in this album is the newlywed Bryan and Olivia. And, you know what? This is an album that has love dripping all over the place, and that is what makes it so special. Listening to the pair of them harmonising on First Day At School, the longest single track here at seven and a half minutes long, is a perfect example of this. On The Last Day, Olivia demonstrates just why she is one of the finest female vocalists in today's prog scene. It is a delightful, plaintive, soaring performance that simply must be heard to be believed, and believe me, has love screaming out, as if it is the last moment she will share with her man, remembering Spirits of Autumn Past, indeed. Old fans will, by the way, adore the nod towards that great old track, with wonderful flute by the recently departed Anne-Marie Helder.
The band have, in the past, tended to veer a bit towards different styles on albums. So, The Last Bright Light and Passengers were strong folk-tinged albums, whilst Storms Over Still Waters lent to heavier territory. This album is the perfect fusion of all the multitude of influences and experiences of its main players, and they move effortlessly between melodic, symphonic, heavy, and Celtic infused music. Skin on Skin is perhaps the most obvious example, with a melodic beginning, with sensitive vocals, morphing into a wonderful wall of sound with some exceptionally complex drumming, especially, by Alex Cromerty, whilst this delightful noise then segues into a quite beautiful female led acoustic piece in The House On The Hill.
Mostly Autumn have ceased to threaten with this album. It is simply magnificent. I urge all reading this review to get out and buy the definitive album from a band who really deserve to be packing out stadia (not that they would want to, of course!). The band have provided me with a very difficult choice for album of the year in what is proving to be a very strong and enjoyable 2014, for, believe me, this is every inch as good as Road Of Bones.
IQ - THE ROAD OF BONES
IQ, that venerable outfit of 1980's vintage, release this, their 11th studio offering, and, I will say straight away, are sounding as strong, if not stronger, than ever.
This review is of the double cd I pre-ordered, and which is available now from all the usual quality outlets, and I would wholly recommend that potential purchasers get the whole thing. To be very fair to IQ, they have made the entire work available on release at a reasonable price, with no follow up rip-offs to us poor old punters, and support is deserved for that alone.
The first cd, The Road Of Bones itself, is a concept piece that is not just dark, but actually very bleak and positively gothic in places, telling the story of a rather nasty serial killer in the first person. You would think, then, that the music itself would match such a story; you know, an album which would make Pink Floyd's The Wall a veritable ray of sunshine to come down to after listening.
But, no, not a bit of it. This sumptuously produced (and Mike Holmes has really exceeded himself in this department), and gorgeously performed work just about takes us through the entire range of emotions, with passages which are achingly beautiful, and a rock experience which takes us from the hard and crashing opening, thundering, riffs of opener From The Outside In, to the quite gorgeous acoustic interplay on guitar, piano, and vocals at the denouement of closer, Until The End (which itself follows a really beautiful wall of sound in the finest symphonic tradition).
More experienced IQ followers such as I will, on the first couple of listens, have been surprised at the relative absence of genuine Holmes guitar bursts of days of yore. Indeed, it is, in my opinion, fair to say that this is the most keyboard dominated IQ album in many a year, perhaps ever, and massive credit must go to Neil Durant, who creates such a huge wall of sound and virtuoso performance that really do go up against the best Orford produced for the band, he is that good. However, saying this, this album is a genuine ensemble piece. The joy of hearing our favourite rhythm section of Cook and Esau, who shine especially on the beautiful title track, whilst Holmes, if not understated, is most certainly not at the forefront of all the action as he was during much of Frequency, although his bursts towards the close of epic Without Walls are pure trademark Holmes brilliance and remind one of the similar beauty of Dark Matter. And, thence, to Peter Nicholls. I have always loved this man's voice, a set of chords capable of belting out a massive piece one minute, with a tear inducing piece of fragility the very next, and so it is on this album. His voice, if anything, is growing and becoming a damned sight better the older he gets, and his is without doubt the only one I can think of capable of telling this theatrical piece properly.
There are five tracks on the first cd, and all of them, without exception, are essential IQ, that is, for those who know my opinion in such matters, right up there with the best progressive rock. Without Walls, just a shade short of twenty minutes long, never once fails to grip your attention and pull your heart strings. It contains all the vital elements that make this band so important, from those well versed symphonic soundscapes to very dark introspective instrumental passages, massive riffs, some lovely acoustic work, some very clever sound effects, and quieter moments which, rather frighteningly, allow us in the subject's innermost feelings. The manner in which the vocals and music change mood and interpret a story are fantastic.
And so to cd two. There are those who tell you that it is as good as cd one. They are extremely close to the knuckle, but not quite there. The first CD is a masterpiece, whilst the second helping is merely excellent. Which is to say, again, that it is at the top of the prog tree. Highlights for me are the exceptional Constellations, on which this line-up sound as if they have played together all of their career, with Durant, especially, sounding wonderful, helping to create a pomp prog spectacular; the clever instrumental 1312 Overture (so named because of its time signature); and the really rather exceptional opener, Knucklehead, which is perhaps one of the most experimental, and heavy, pieces they have released, although, in all honesty, there is nary a bum note or poor moment present throughout the cd. These are not "throwaway" bonus tracks, but a set of pieces which, whilst they did not fit into the main concept, deserved a release of their own. I for one, am very grateful they were. Six tracks, and 50 minutes of quality progressive rock.
I think that IQ are a band who are still improving, which, given the fact that they have released some of the most important and vital progressive rock over the course of 31 years, is a testament to the quality present here. This is the sound of a band still striving to develop, mature, yet staying true to their glorious roots. It is simply a magnificent experience to listen to and is genuinely the first utterly essential purchase of 2014 for me.
I tell you this. Pendragon, those other venerable survivors of yesteryear, will have to go some to match this when they release their own much anticipated new work later this year.
PENDRAGON - MEN WHO CLIMB MOUNTAINS
Well, despite the closing comments in the review above, they didn’t quite match IQ, but it was a damned close run thing!
A new Pendragon album is always, for this long-term fan, a big event. And, as ever, Nick Barrett and his cohorts do not disappoint with yet another class slab of thoughtful progressive rock.
I ordered this from my favourite progressive rock store, Caerllysi Music, and was pleasantly surprised to see that the double cd had Nick's signature emblazoned over it.
It is a rarity that I mention bonus cd's, which is what, in effect, the second disc is, being an acoustic set performed by Nick at a mate's boozer. It is far better than that sounds. In fact, some of it is a revelation, given that the expansive sound we have always associated with Pendragon would not, you would have thought, lend itself to such a stripped out environment. Listening to Green and Pleasant Land, the standout track from Passion, is incredible. The lyrics, and the brilliant anger generated against the knobheads running my country, bringing it to the sorry state it finds itself in, is expressed even more pointedly in this setting than in the original, which I would not have thought possible.
But, to the main event. When you have opening tracks which sing and mourn as to how your beautiful soul will be saved, and end with such an expressive paean to the human condition, then you know that you are in for another treat. Every single review I read from professional journalists always seem to make an excuse for Nick Barrett somehow not having a particularly fine voice, but, patronisingly, state "hey, it works well here". Take no notice of them. There is nobody on God's earth capable of expressing this man's lyrics and music in such a poignant fashion as the man himself, so just enjoy.
The key to this album is the emotion generated from wildly divergent moods, and, with all emotional albums, it requires damned fine playing to bring it to life. Barrett is one of rock music's finest unsung guitar heroes, and his work here is staggering. Some of the piano work, especially, is enough to bring the hairs on the back of your neck standing up, and listening to the staggering keys work on In Bardo makes you realise just how important a musician he really is. The rhythm section of longstanding bassist Peter Gee, who makes his instrument sing like a lead instrument in parts, and new drummer, Craig Blundell (replacing the incredible Scott Higham), move things along at a fair old pace. Blundell, by the way, is more suited to this album than Higham would have been. I believe, listening to this, that we have the reason why he left.
That is not a criticism of Higham. It is just that I believe, in about three albums time, or so, we will regard MWCM as being as important a change of direction as we now know Believe was when Barrett took the band from its overt symphonic leanings to a far heavier and experimental direction. This one retains much of what was good about that new era but takes it in a far more song orientated direction, and the end result is a pleasing amalgam.
Some of the riffs on Come Home Jack, for instance, are thunderous, but are tempered by some quite exquisite moments, and the lost yearning inherent in the lyrics and guitar bursts is quite moving - this is not an album about mountaineers, per se. This is an album dealing with the human condition, written by a master songsmith going through a period of deep contemplation. No more, no less. As you listen to the song this segues into, In Bardo, the differing emotions come to the fore, the title itself suggesting a transition between differing states and phases.
The following two tracks constitute, to me, all that is best about this band and album. Two pieces of music which have to be enjoyed and contemplated as one, dealing with hugely diverse emotions. Firstly, we have the uplifting, major key, Faces of Light, which has the return of the delightful Tiggy accompanying Barrett on vocals. This leads into the altogether darker affair of Faces of Darkness, probably the one track on this album which comes closest to the musical ferocity of recent predecessor albums, and the sense of betrayal inherent in the lyrics and mood of the music is biting. The contrast between these two tracks is progressive rock at its best: thoughtful, challenging, and bringing something new to the table with each listen.
I have never been particularly good at interpreting lyrics, as such. That is not a bad thing, or a particularly personal criticism of myself. After all, the only person who really knows what he, or she, is writing about, is the author. What I can say, though, is that I am 50 next month, and it is fair to say that I have been rather thoughtful and reflective in the last couple of years, with close friends no longer with me. You could call it a mid-life crisis, I suppose. The lyrics and music on this fine piece of work shout to me. I get them. I understand, without necessarily knowing precisely what Barrett means by a particular set of words. The incredible final track, Netherworld, that destination of souls not quite saved enough to reach heaven, in particular, means so much to me, because I know I am not perfect, I have faults and fears. This album shouts out to me that one of my favourite band's and lyricist's is still able to move me and I can still relate to him and them in the same fashion as I could as a callow young man when they first delighted me with their music. Not a bad testimony to Pendragon, is it? It is very keenly meant on my behalf. You know, I often tell myself that "God only knows", as Barrett opines on Explorers of the Infinite, the longest track on the album. The music, in particular the symphonic soundscape created by the ensemble, simply oozes feeling and yearning.
This is an excellent album which, I know, will be a precursor to a fine and outstanding new era for a fine and outstanding band. This is 64 minutes of pure and utter pleasure and comes highly recommended.
STEVE ROTHERY BAND - THE GHOSTS OF PRIPYAT
Pripyat, an abandoned city in The Ukraine, abandoned because of the shocking Chernobyl disaster. Given that this shell of a place lends its name to the album, or, rather, the ghosts who haunt it, you would not really expect to have that much a of a laugh fest, really.
Actually, though, there are some wonderfully uplifting moments here, in addition to the evocative, and downright haunting.
This is the debut Steve Rothery solo album, which is something of a surprise given that he has delighted us with Marillion for more than 30 years now. Yes, there have been the two exceptional Wishing Tree collaborations with the lovely Hannah Stobart, and other guest appearances, most notably recently with Steve Hackett, who returns the favour by guesting on the rather understated opener, Morpheus, and then returns on the third track, Old Man Of The Sea, alongside the colossus of modern prog, Mr Wilson, and the result is every bit as good as one would expect with three virtuoso musicians working together. The closing riffs are wonderfully thunderous, with a genuine wall of sound being lovingly created.
Actually, the comment regarding the three "stars" on that track is a tad unfair, because, in reality, this is, really, The Steve Rothery Band, such is the fine support he receives from Dave Foster on guitar, Riccardo Romano's exceptional soundscapes on keyboards, Yatim Halimi on bass, who has been wonderful on the recent Panic Room albums, and Leon Parr on drums. This feels and sounds like a band who have been together far longer than they actually have - tight and knowing.
Rothery, it is fair to say, gets to stretch his riffs, including some very heavy passages, far more than he has in recent Marillion releases, although, of course, his day job is part of a collective writing machine. Here, he gets to express himself free from those constraints. The riffs on the wonderfully Gothic White Pass are a very good example of this freedom of expression, quite unlike anything the parent band have ever produced.
There are no lyrics here, just music. Sometimes, as in the title track which closes proceedings, this delivers an incredibly sad mood, but, elsewhere, you genuinely feel as if you are getting to know the characters Rothery evokes, without having to read about them. The music delivers all.
I have admired, very passionately, Steve's work with Marillion since the very early days, so this album was, for me, a no-brainier to purchase. I would, though, make the very important point that this should not be confined merely to Marillion fans. Far from it, this album is an exercise in quality musicianship, and all lovers of this, especially virtuoso guitar playing, will be interested.
Quite excellent, and I cannot wait for the follow-up.
PANIC ROOM - INCARNATE
Panic Room are a band who I have followed since their exceptional debut in 2008. Not only are they a fairly local band to me in South Wales, but they are amongst the leading lights of that movement of female fronted, melodic, progressive rock bands that have graced this new millennium of ours.
This is a song based album and is really rather beautiful in places. I simply adore the orchestral backdrop to the bright and lovely Start The Sound (a track which reminds me of the excellent Satellite from the second album).
In fact, the sound of the whole album is not that of an act who have lost a massive influence and character in Paul Davies but are confident and bright enough in their ability and the band's future to absorb and, hopefully, bring in a long participation in the excellent guitar work of Adam O'Sullivan. That commitment to the cause, by the way, is very amply demonstrated by the decision of Anne-Marie Helder and exceptional drummer, Gavin Griffiths, to end their longstanding association with Mostly Autumn to concentrate on all matters Panic Room.
It is fair to say that Helder is at the centre of much of what happens in this album. Her rich, deep, lilting voice is not only as brilliantly evident as ever, but she also wrote five of the nine tracks alone, and co-wrote the remaining four with old cohort, Jonathan Edwards (O'Sullivan also contributing to the Mid-Eastern influenced delight of Into Temptation).
As with many song based albums with a distinctive commercial sensibility, there is a deceptive simplicity on first listens. In reality, this outfit wear their progressive rock badges with pride, and play as a true collective, with some interesting and complex soundscapes, ranging from the aforementioned orchestral delights to the delicious blues backdrop of Nothing New (I love Edwards' piano and O'Sullivan's guitar duo at the close with light rhythm of Halimi and Griffiths). There is the finest Supertramp track never made by that band in Waterfall, by which I mean this act have captured that piano led riff and wonderful uplifting sound of the classic Hodgson and Davies era. Traditional prog rock fans will simply delight at the wonders of the album closer, Dust, which creates an incredible atmosphere, very dark in places.
Those who have read my reviews over the years on Prog Archives know that I am a bit of a sucker for this type of music. However, that does not mean I accept any old rubbish.
Incarnate is the sound of a band that will continue to delight us for many a year to come. Confident, and not afraid to make and release a work which really should sell a damn sight more copies in a commercial world sadly dominated by cheesy pop remakes and dull "r 'n b". Come on world. Enter the sphere of a band simply making delicious, excellent music for the sheer joy of such an act.
An excellent album, which presently tops my list of an impressive 2014 thus far.
CORVUS STONE - CORVUS STONE II
It was very much a bittersweet experience revisiting my review for this section as Colin Tench tragically passed away in 2017. A wonderfully warm human being, and very talented musician, he is missed.
Corvus Stone II. What is one to make of this lot, eh? If the reviews are to be believed, they have come up with a true masterpiece, one of the finest Prog albums ever to be set to record. Actually, some of the rather more obvious fan and family tributes made me swear not to have any part of the whole business, until guitarist Colin Tench (someone who I admire a great deal and would love to meet and have a drink with) contacted me, and kindly posted a cd for me to review.
So, a masterpiece? No, but it is a mighty fine piece of work, which deserves to sit up there with the Premier League of modern Progressive Rock artists, and that is no small praise at all.
The album is such a massive contrast of styles that it is really difficult to pin it all down, and that, of course, is clearly the point. It is eclectic wrought fine. We begin with lovely late 60's type psych/pop on openers The Simple Life and the sunny Early Morning Call, two of the brightest and most cheerful album openers in many a year.
What to make of Boots For Hire? Some delicious guitar work, especially, with lyrics from a dystopian screenplay chucked in for good measure. Here, the music moves in a huge contrast from the opening sunshine. Far darker, and heavier, in tone and scope. It's good (very good, actually, especially for fans of classic rock), but the Iistener is somewhat unprepared for such a contrast.
So, now, your reviewer is at a similar stage to when he was preparing to write his review about the debut album. Do you (politely) mention, and imply criticism of, the lack of "consistency", or style, or do you just go with the flow, and merely accept what this band are, and are about, and sit back, listen, and enjoy, soaking it all in. I am glad to say I have opted for the latter course this time around.
Because, when this lot are good, they are very good. Take the closing two tracks, which are the stunning Moaning Lisa (featuring a true star on vocals in Sean Filkins, and a marvellous South American, German Vergara, who should be), the longest track here, and a true prog fan's delight, and the much needed come down track, Campfire. They are two of the finest pieces of music I have heard all year and are, in truth, worth the admission price alone. Pure excellence in modern prog. For good measure, we also have a huge nod to classic Prog, flutes an' all, in Eternal Universe.
Blake Carpenter, one of my favourite modern era artists, features strongly on vocals (maintaining a positive link with the Corvus Stone regulars, and strong enough to make me look forward more to the planned Minstrel's Ghost album), although I could well have done without the silly Purple Stone, a Deep Purple "tribute", even including original lyrics, which is just, to my mind, "different" for the sake of being different. It certainly adds nothing to some of the beauty which surrounds it. Contrast this with the far too short Dark Tower, which is thoughtful, intelligent, and could have been an album story in itself. I just love Blake's contribution on this, and his final effort, the lovely prog ballad, Mystery Man.
We have some almost stoner meanderings in the heavily classic rock influenced A Stoned Crow Meets The Rusty Wolff Rat (no contest, chaps, song title of the decade is yours), Lisa Has a Cigar, and Mr Cha Cha (just love those Jon Lord Hammond keys on the latter). The meanderings do, though, grate somewhat on the disappointing chants of Scandinavians In Mexico.
And, as if all of the above were not enough for you all to be getting on with, we have a fantastic Finnish contribution on vocals from Timo Rautianen, in his native language. I don't understand a word of Camelus Bactrianus, but I sure do appreciate the darkness contained within. Did I say darkness? It could, I feel, be easily compared with the inside of a duck's anus, but, by God, it is damned good stuff with its rhythmic drums, swirling keys, and brooding atmosphere.
So, pop psych, to classic rock, to stoner meanderings, to classic Prog rock. Confused? Well, you will be, but don't worry about it. This is a band for whom it is impossible to categorise, and I finally get it. They don't want to be categorised. They just want to play, go where the music takes them, and invite you, the listener, to share a fun, if strange, journey. Join them. You will, I promise, enjoy.
Lastly, here, a mention for the lovely Sonia Mota's staggering artwork, which is standout incredible. Hugs, indeed!
An excellent album which comes highly recommended.
MIKE OLDFIELD - MAN ON THE ROCKS
The first thing to say in this review is a health warning. If you are a person who believes that for a song to qualify as prog, it should be at least ten minutes long, and preferably twenty, or that any Mike Oldfield album that does not include at least one track of that length represents a sell out or abomination to all things prog, then it is fair to say that this new release is not for you. Do not waste your money, for you will be very upset and disappointed. Actually, best not to even read any further, go settle down, relax, and listen to some of that real prog.
For the rest of you, those open to the principle that a song based album can actually be pretty good and, well, like prog, this album might well be for you.
It is some six years since Oldfield's last release, and he had clearly entered a state of semi-retirement. However, the overwhelmingly positive response to his live appearance at the superb London 2012 Opening Ceremony, and, as clearly, the need to exorcise some inner demons that have been dormant for some time, persuaded the great man to sit down, write, get a band together, and release an album of entirely new material.
Band is the first thing, actually, to note about Man On The Rocks. It is an Oldfield band performance, rather than Oldfield doing it all. The man himself plays guitars and keyboards but enlists the services of veteran bassist Leland Sklar (Phil Collins and CSN), drummer John Robinson (Eric Clapton), and, on vocals, Luke Spiller, of Derby indie rock band, The Struts. Yep, you read right, Oldfield has recruited an Indie singer to perform on one of his albums, which, if some comments are to be believed, represents a capital crime.
In fact, Spiller is one of the finds of the decade, and puts in one hell of a shift in on this. He has the full range, from the soft textures of the title track and Following The Angels to the full rock pelt of Nuclear. Some have compared him to Freddie Mercury, and the comparison is not entirely a load of old spin. The way he works with Oldfield on the disturbingly catchy Minutes does, actually, invoke memories of another fine partnership Oldfield once had with a certain Maggie.
The music is fair mix of styles, from the pure, and instantly enjoyable toe-tapping, pop of opener Sailing, to the dark, heavy, and brooding Nuclear, via Celtic infused influences (similar to those found on Voyager) of Moonshine, Chariots, which could easily have found a way into an album such as Calling All Stations, and gospel influences on Following The Angels and the closer, I Give Myself Away.
The constant throughout is Oldfield's guitar work. If he had been the lead guitarist of a common or garden band, rather than the multi-instrumentalist we know, I genuinely believe that we would be talking about him in the same reverential and hushed tones we reserve for the likes of Howe and Hackett. His (undoubtedly conscious) decision to restrict himself to guitars and keys allows him to shine, and this album contains some of the best trademark guitar bursts, licks, and riffs heard from him for many a year. I simply love the electric burst of Castaway, which screams and cries emotion.
I mentioned earlier inner demons. Well, the extraordinary title track, with its slow opening right to the bombastic rock pomp of the emotional outlets that follow, deals with his, and his late mother's, many addictions, the thoughtful Castaway with the fear of a child, Minutes and Chariots, with missing loved ones and separation (he is going through yet another separation and divorce), and, especially, the very dark Nuclear, the highlight of the album for me, dealing with emotional suffering, the riffs of which remind me of Blackmore at his rock peak, and put many so called heavy rock acts to shame. The other fine harder rock track is Irene, dealing with the hurricane that struck the island where Oldfield now calls home.
It is not, however, all doom and gloom. Following The Angels, the longest track at just over seven minutes, is a tribute to the Olympic Opening Ceremony, Sailing is about the joy of a life on the ocean waves, and a nice, gently performed, worship number in the closer, I Give Myself Away, written by William McDowell, a black gospel singer and preacher. I love the complex prog pop of Dreaming In The Wind, a tribute to an unknown man whose ashes were spread in the sea but is more cheery than it might sound on reading. Actually, the word, in spite of some of the subject matter, that best describes this album is fun, in that Oldfield, I believe, had a great deal of fun and satisfaction in making it. It is not a "simple" pop album, it is the mature work of a great songwriter which grows on one with each and every listen.
Going back to the beginning of this review, this is not an Amarok, Bells, Incantations, or Ommadawn. It could be better compared to side two of Crises, or albums such as QE2 or Discovery, and stands up very well in comparison. This is an album which I will play regularly for a long time. This review is of the single cd only. There is an extended version available with instrumental work.
His swan song? I know not, but, if it is, there are far worse ways to sign off.
INTROITUS - ANIMA
Elements, the predecessor to this album, is one of my favourites of all time, with its gut-wrenching emotions marking a work that was nothing short of genius, so following this up was always going to be a mighty ask for any act.
Swedish band Introitus have, though, made an excellent job. Anima, an interesting examination of the human soul, or psyche, once again highlights all that is interesting and endearing about the band but does also move the band's sound forward in that there is far greater room for expression by Pars Helje and his guitar, and he takes full advantage with some memorable riffs and rhythms.
At the heart of all that is best here, though, again, is the wonderful combination of wife and husband - Anna Bender on vocals, and Mats on keyboards.
There are three ten minute plus epics to delight our senses here. The first, Broken Glass, is, to these ears, perhaps the least convincing. When it is good, with heavy, crashing riffs accompanying the beautiful sound of Anna's voice, then it is very good. Regrettably, this is not perfected throughout the entire ten and a half minutes, as some parts are patchy, with a couple of minutes of filler, really.
Slipping Away clocks in at over eleven minutes long, and opens with the most delightful bluesy guitar riff, and special mention here must be made for the sensual bass lines provided by Dennis Lindkvist, ably backed by the fantastically produced thunder of Mattias Bender on drums. The vocal drips with feeling, and deals with that timeline common to all souls, that of facing death of the flesh. The wall of sound that is created is a joy to listen to, and the whole piece gels together in a lock tight fashion.
The final epic is the title track itself, Anima. It really is a wondrous track, a beautiful paeon to the eternal nature of the changing nature of the seasons and life itself in the beloved forest where the Bender family reside and wrapped in a satanic fable. It is exceptionally dark in places, but the fusion of symphonic, soaring rock, and folk tales ultimately brings a warmth that only this act are capable of. There is even time for a pulsating mini-drum solo, which highlights gleefully the talents of young Mattias.
The comedown from the emotional wave of Anima is the pretty piano led instrumental, Exire, and we also have a two and a half minute "secret track" with which to close proceedings entirely. Both do the difficult job of bringing us safely back to earth to chill perfectly.
Elsewhere, there are plenty of other delights awaiting the listener. The Gothic, and ghostly, Who Goes There is a rollicking seven minutes of spooky fun, worth the entrance fee for Mat's swirling poltergeist keys alone. This is easily the most haunting fun had since Genesis delighted us with Home By The Sea, and there are some very heavy passages to rock us out.
You Will Always Be My Girl is, as you would imagine, a tribute to daughter Bender, whose lovely features, with her beau, adorn the striking album cover. Genuine, heartfelt, and an uplifting track to savour. Anna demonstrates, again, just what a lovely voice that she has, and it really is a shame that the wider pop listening world will never hear it. This lot, in another era, would have been massive.
Lastly, Free is a deeply intelligent piece of modern rock, with folk sympathies running deep. There are no lyrics as such, but a soaring chant which accompanies a rich band instrumental, with some easily detected Focus influences therein. This is easily one of the finest tracks I have heard in 2014.
Let me tell you, Introitus are so much more than just a “neo prog” band. They produce so much more than this. Above all, I think that the best tribute I can pay to a band kind enough to do an interview with me is that my life is infinitely richer for having had them enter it. They are a joy, and this album comes highly recommended to you all.
NICK MAGNUS - N’MONIX
Four years after the truly excellent, and one I still play with some regularity, Children Of Another God, former Enid and Steve Hackett Band alumni Nick Magnus makes a welcome return to our aural senses with this thoroughly enjoyable, and intelligent, album.
The inner sleeve has a definition of mnemonic as a system or device for aiding memory. Much of what you hear and read is truly memorable, as well.
Magnus and his keyboards are at the heart of everything in this album, and parts of opener, Time, are almost industrial in parts, certainly not particularly typical of what one might have expected, but the surprise is welcome. Contrast this with album closer, Entropy, in which his keys bring a mysterious sense of warmth as they lead a track which is Celtic in its heart and brings all of the thoughtful lyrics of the work (aiding memory) full circle.
In the predecessor album, there was a gorgeous track called The Others featuring the beautiful, almost operatic, vocals of Linda John-Pierre. Well, on N'Monix, he has gone one further, with Memory, the sister of time, by including the most gorgeous aria sung by Kate Faber, a soprano with the most incredible voice. This is the utter highlight of the album to me, a track which celebrates and fuses all that is best about traditional symphonic prog with its classical inspiration. Truly beautiful, and worth the price of admission alone.
What remains is a fascinating mix of the modern, traditional, pastoral, and clever all in one new package. Kombat Kid is a knowing nod for those of us with boys who love console games but framed marvellously cleverly as a historical paradox of Richard III, whose remains were recently exhumed. Tony Patterson's vocals are sumptuous and extremely knowing.
Headcase ends the first side of the album (as would have been in days of yore), before, in Eminent Victorians, we hear the first appearance of three by Steve Hackett, once again lending his old friend a hand. This is, on this track more than any other, extremely appropriate, because this is the first of a side of music I think could quite easily have fitted alongside classic Genesis of circa 1971 Nursery Cryme vintage. You know, that marvellously quirky and eccentric pastoral English to its core rock. The vocals provided by another old Hackett collaborator, Pete Hicks, simply add to the atmosphere created this in addition to those trademark Hackett licks working in tandem with Nick's keys so reminiscent of that period.
Talking of Hackett licks, just listen to his incredible solo work on the short instrumental, Shadowland, which combines this with the feel of Memory to provide us with an almost Gothic hymn of remembrance. Quite stunning, really.
This joy, though, itself pales into comparison with Broken, the longest track on the album, clocking in at just over eight minutes long. Steven Wilson collaborator Tim Bowness contributes a delicate and thoughtful vocal to a track, with flute, soprano sax, arpeggio guitar, and a wall of keyboards simply taking one on a magical life journey, told through said instruments and children's nursery rhymes, and this is key, because, through all the joy, this is, essentially, a dark track designed to make one reflect upon events of one's past. A huge clap, then, to a wonderful lyricist, Dick Foster.
This is a memorable album and comes thoroughly recommended to anyone who enjoys that feeling of listening to an album which brings the feel of a classic period right into the modern era with aplomb, thought, production, and warmth. An album which demands attention and brings the rewards that such attention should provide.
Yet another album which will stay with me and on my playlist for years to come, and proof positive that 2014 continues to develop into a vintage year for exceptional intelligent progressive rock.
COLIN MOLD - NOW YOU SEE ME
I purchased this album on the strength of my good friend Thomas' (Tszirmay) review, because, generally, we tend to enjoy the same music.
For what is so obviously an individual labour of love (Mold does it all on this work), so utterly home produced, the thing that strikes one upon hearing it is just how good the production and feel of the album is. The sound and vocals are utterly lush, as if, somehow, a David Hentschel, or similar luminary, had been sneaked into the home studio, twiddled the knobs, and left, with no credit to his name at all.
Mold has a plaintive, questing, and extremely pleasing voice. The emotion, see Will We Ever Return especially, an incredibly thoughtful song, is striking. His musicianship is of the highest order, and the backing vocals provided by Michelle Glover add very decent layers to the textures that the ears find so immensely pleasing.
There is a lot going on in this album, and the trick Mold pulls off is the very difficult one of making extremely accessible music in the context of progressive soundscapes. Not many pull it off, and it is done here with aplomb.
There is not one bum track, and my favourite amongst a really good bunch of tracks is Amelia (The Vagabond), a gorgeous paeon to the intrepid aviator who met her premature end somewhere over The Pacific Ocean. A thoughtful and lovely lyric, with some exceptional guitar work to take us soaring above the clouds whilst listening.
This is the kind of artist I love listening to. A talented man, utterly honest in his endeavours, ploughing what must be, at times, a fairly lonely furrow bringing his music to a wider audience. The keyboard and guitar work, especially, deserve such an audience.
Well, this reviewer, for one, can wholly recommend a delicious slab of beautiful, pastoral, modern and commercial progressive folk rock.
Quite excellent, so thank you Colin, Thomas, and, of course, Caerllysi Music from whom this was purchased - please support independent music outlets.
HARVEST - NORTHERN WIND
Another enjoyable album from Harvest.
Northern Wind is the third album released by Harvest, a band I have followed since their inception.
From the moment the melodic, short intro, Into The Void, enters your consciousness, to the final moments of Colours fading, the listener is in for a treat of modern progressive rock.
The first thing that hit me was the incredible leap forward the band have taken in terms of production. This album sounds grandiose, and the entire experience washes over one, in much the manner as those Northern Winds drive the waves onto the shore. Witness the dark intensity of Under The April Sky, which creates a wall of sound that reminds me of putting on Genesis circa Home By The Sea. It is moody, and a damned sight harder than anything the band have put out before, a real standout track. This then segues into an instrumental piece, Shadows Behind The Lilacs, which Messrs Gilmour, Wright, and Mason would have been proud to release.
Secondly, there is also a move in terms of song structure, length, and, yes, progressiveness. This is the sound of a band so utterly comfortable with themselves, and their abilities, and it is a pleasure to hear. There is a beautiful piano interlude midway through the first longer track, It All Becomes Clearer, which, itself leads into the most gorgeous main description by Monique and the entire band creating such a calm pastiche.
Harvest are one of two bands I have followed who unashamedly took their influences from Hogarth era Marillion, the other being Gazpacho. The latter, to these ears, have, in truth, made one too many similar albums. Demons contains nothing new whatsoever, whilst, in contrast, Harvest have developed, progressed, and created an album which stands alone. Much like Marillion, they are making new sounds and experimenting as they go along. The lyrics of the title track, which expertly mixes commercial Prog and a harder, tough set of riffs, puts it very well when it talks of a New Direction and New Horizon.
The band are equally comfortable in creating calming, melodic music, as they are when they rock out, and there are plenty such moments of such contrasts throughout this album. When they rock, then the noise that is created will appeal to the most enthusiastic fan of the harder stuff. Neither, though, have they lost that clever knack of creating a catchy song, as Something's Changing tells us. This track features one of the most expressive guitar solos of 2014, by the way.
The musicianship is allowed time on this album to expand. Amela's keyboards soar, Prat's guitars sing, Munne's bass is played as a lead instrument in its own right (a pleasing trait shared with Messrs Trewavas and Squire), whilst the drums of Ojea keep it all together (I just love his work at the close of Tonight). Once again, of course, the precious and pleasing voice of Monique van Der Kolk is at the heart of it all. The dreamy Sending Signals reminds me of just why I fell in love with this voice and band in the first place. Simply beautiful, it touches and emotes, and there is a foot tapping mid-section that I know will become a massive live favourite. Hands together, everyone!
The entire album leads up to the spectacular finale that is Colours, a track weighing in at eight and a half minutes. All the expressions, moods, themes, and expansion of the Harvest sound are brought together on this progressive masterpiece, one of the best tracks of 2014. As the sea laps against the shore, you simply appreciate the sheer beauty of what went before.
Northern Wind is an album which should, in football parlance, move Harvest from the second division of Prog to the Premiership. I tell you this. The next one, I know, is going to blow the collective minds out of the progressive rock world.
If you own and enjoy albums by acts such as Marillion, Panic Room, Renaissance, Mostly Autumn, then you will find a great deal to love here, and, thus, this comes highly recommended. By the way, Harvest fully deserve to be mentioned in the same sentence as these alumni of Prog.
A very strong album, for which I am very grateful to the band sending me a copy to review (I would have purchased it anyway). The album is available from quality independent retailers such as Caerllysi Music and the band themselves on their Bandcamp page.
YES - HEAVEN & EARTH
I was not its biggest fan - a disappointment.
This review is being written some 14 months after the release of Heaven and Earth, the album which would prove to be the studio swan song of the great Chris Squire, who sadly passed away about a year following its release.
Thus, it is tempting (very tempting) to write a review that tells all that this is a fantastic way for the great man to have left his imprint upon the world.
Tempting, yes, but it would be wholly inappropriate. For said imprint, I am afraid you need to go back a far while in history.
As others have commented, this is not an album of epics. It is a song-based album, and, as regular readers of my reviews know, I do not regard this as a bad thing. It basically depends upon the songs. If they are great, the album is. Pretty simple concept, really.
The songs are not terrible. They are, in the main, pleasant. Surprisingly, given his antipathy in the past to anything resembling a song-based album as far as Yes are concerned (although not, of course, with Asia), the main man whose mark is all over the album is Steve Howe. His playing is sublime. On Subway Walls, he tries his best to pick the tempo up at the end to something resembling a rock album, and almost succeeds.
Downes contributes suitably well played light keys (I say this as someone who greatly admires his work with Asia), Squire is, well, Squire without the bombast, whilst White is barely noticeable, as if he completely disappeared during the mix.
And what of Mr Davison, then? He is, well, erm, pleasant. He has a pleasant voice. He has a voice which can pass in tone for a certain Mr Anderson. But Mr Anderson he ain't. Sorry, he just isn't. Probably the most striking album of Yes with Jon which this bears resemblance to in both approach and tone is The Ladder, an album I loved. That had a lot of songs, and when Anderson belted out If Only We Knew, a paean to his wife, he sounded as if he meant it, and he didn't half belt it out. Davison does not belt anything. I am sorry, but it sounds for all the world as if he is merely going through the motions singing.....well......er, pleasantly.
And therein lies the rub. The Game is, perhaps, the best example of a track on this album which, with an Anderson contributing, could have been a classic Yes commercial track. As it is, it is unutterably bland. Nice enough, yes, but just damned bland, and those who know me well know full well that I adore good commercial progressive pop rock. This just doesn't cut the mustard.
To Ascend really stands out for me on this theme. A track which has Squire written all over it, with his characteristic (gorgeous) voice, a melodic bass line, backed by soft acoustic guitar (there is a drum somewhere, but not so that you would really notice), this could, and should, have been something exceptional, special, beautiful. As it is, it is just....oh dear, damned pleasant. Never has such a nice word been used to such ill effect.
Light Of The Ages is an attempt at good old fashioned Yes cosmic grandiosity, Howe slide guitar wonderfully wailing, with some very good Downes tinkling. It is, perhaps, the closest this album comes to being enjoyable, but is, ultimately, ordinary, without the atmosphere we, rightly, come to expect from such a group of virtuosos.
This is not a turkey of an album. It was touted as being a statement of intent by the band, a record of Yes in 2014, with the past banished forever (excepting, of course, in the live shows, because it is, naturally, the classics which keep the punters rolling in). Well, I defended, rightly, Genesis right throughout the so-called sell-out phase, because, you know, they produced some staggeringly good music, stuff I play with pleasure regularly, and music that will live in my mind forever.
This is nothing like that. It is not an Open Your Eyes. It is not THAT bad.
It is, like, pleasant. It is a nice album. And it is fantastically unforgettable.
I did not expect a classic album from the band who released Relayer, CTTE, Fragile, or even Tormato and The Ladder. I did, though, expect better than this. Even Fly From Here had a marvellous suite, beautifully produced and performed, to recommend it. This has no such thing, and, as such, is, in my opinion, an album only for us diehard collectors who must have all that the band released.
Simply not good enough, a statement I take no pleasure in writing at all.