Showing posts with label Indie Music Reviews. Show all posts
Showing posts with label Indie Music Reviews. Show all posts

Wednesday, July 22, 2020

Rock Review: Mandoki Soulmates-Living in the Gap + Hungarian Pictures

Release Date: June 19, 2020

Label: 2020 Purple Pyramid Records

Website 

Mandoki Soulmates debuted in 1991. The band consists of many members but, the founding three are Ian Anderson, Jack Bruce, and Al Di Meola; along with Leslie Mandoki. Often coined as a ‘supergroup,’ Soulmates present themselves as a unified front. They direct the band as one whole unit, rather than several different bodies and voices just up on a stage. While most artists and bands either remain on one side or the other of the political aisle or keep their personal politics out of their artistry, Mandoki Soulmates lightly sprinkles political undertones throughout their music, especially on the newest released album Living in the Gap + Hungarian Pictures.

Now let’s get down to the business of the music. “Living in the Gap” starts the album with a big-band/jazz, funk-fusion that is quite fitting for such a time as this. The group sings of unity and bridging the ‘gap’ to where we separate from others intentionally on almost every subject nowadays. It also hints of a thought that there is no “right and wrong” rather, it’s a matter of collective agreement or disagreement.

“Young Rebels” is a shout to how all different young individuals, each with varying backgrounds and experiences are trying to get through each day of this world and possible change in a peaceful but ever-so-nonchalant manner. In the same way, they cannot decide whether they are trying to bring about some old ideals as a youth, or much older but with youth mindsets and hopes. “Turn the Wind” takes a bluegrass-like spin in the record. It comes down to simply a relaxed tune, but, it does beg the question within, “can we stop anything, anymore, at all?” Or, is it a lost cause in trying to make a big change? “Where We Belong” sings of this back and forth between feel-good moments and some that dig in a little deeper in pain or sorrow.

What I might call the ‘anthem song,’ “Let the Music Show You the Way” is a bright and uplifting tune to bring anyone out of their funk. Completely void of any particular signaling or message, it simply enlightens the listener that music is the universal peacekeeper as it allows us to align our feelings to any song we choose. “Too Much Pride” belts out a trumpeted jazz message of an overwhelming sense of pride, unable to move out of our own way to see more clearly, other individuals and how they see and feel through life.

“Old Rebels” is a continuation of “Young Rebels” but, carries the same message from before with a wiser, somewhat opposing perspective. “Welcome to Real Life” eerily fits well with today’s political and human climate. Between the unrest of all of us being quarantined and innocent individuals dying all across the country, the lyrics ring too true, wherever your viewpoints may fall. “Hottest Queen of Cool” invokes a sexy, sleek, jazzy number to a woman who absolutely dominates what seems to be the entertainment lifestyle, almost emulating a Hollywood starlet, turning everything before her, about her.

“Wake Up” is a call-out type of song to all who will listen to change the things we see going on in the world before it might be too late, according to the band at least. Singing of “dark hearts and free minds,” one can imagine, the song is to be about making the world as bright and light as can be. “Mother Europe” follows with a song seemingly of a love of the European continent as though they are defending the nation. “I’m Not Your Enemy” begins with a 2-minute and fifty-second instrumental, cool and mellow guitar-turned-keyboard-turned trumpet solo. Afterward, the singer comes in calm and peacefully proclaiming how she and another do not have the same mindset of anger and resentment. Instead, she speaks of how she will always remain by the other’s side. Another minute and a half instrumental solo takes place before the chorus chimes back in.

A stroke of a piano keyboard twinkles the next song, “Sessions in the Village.” While the singer sings of what sounds to be a very poetically structured verse, the song then cuts from her to a synthesizer party, including a trumpet at times;  making waves in this piece to make it seem like it is a village celebration. “Utopia for Realists” brings back a male vocalist to explain how the band sees modern awareness of the world’s happenings as a glimpse of the utopia beyond. “Transylvanian Dances” is a piece of periodic verses and an overall somber tone. At the 12:22 mark, it begins to speed up for about a minute and eight minutes, turning into an all-out rock fest. Then, ending it out, it slows back down to a man singing of his son being pointed towards open roads.

“You’ll Find Me in the Mirror” is the singer looking back and reflecting on what might have been of him and now he longs for that same trust and security back that he once had. Then comes in “Return to Budapest,” and it’s exactly what you’d expect from that title. It’s a soothing, alluring song of tradition and simplicity. “Barbaro” does give off the initial impression of barbarianism with its rush of drums. When the trumpet kicks in, it turns into more of a jam session of beautifully blending instrumental families. With the piano, it kind of throws a bit of a side curveball but keeps the dramatization of the piece going, sounding like the song is growing faster and faster; thus, more exciting. Ending out the entire album, “The Torch” sings of empowerment and strength to those who come after the singers, in relaxed, chant-like fashion.

Key Tracks include: “Living in the Gap,” “Too Much Pride,” Barbaro,” and “I’m Not Your Enemy”

Gregg Keniston - MuzikMan.net Staff
July 15, 2020

Track Listing:
01.   Living in the Gap
02.   Young Rebels
03.   Turn the Wind
04.   Where We Belong
05.   Let the Music Show You the Way
06.   Too Much Pride
07.   Old Rebels
08.   Welcome to Real Life
09.   Hottest Queen of Cool
10.   Wake Up
11.   Mother Europe
12.   I’m Not Your Enemy
13.   Sessions in the Village
14.   Utopia for Realists
15.   Transylvanian Dances
16.   You’ll Find Me in Your Mirror
17.   Return to Budapest
18.   Barbaro
19.   The Torch


Saturday, July 18, 2020

Crossover Prog Review: Fatal Fusion-Dissonant Minds

Release Date: July 10 2020

Label: Apollon Records

I have been a follower of the band, Fatal Fusion since I heard a track from an early album. Fatal Fusion was formed in Oslo, Norway in 2008, and utilize classic instruments, vintage synthesizers, mellotron, and Hammond organ as they pay homage to the 70’s prog bands, but they have their sound.


That sound has been described as a blending of different genres such as rock, classical, metal, blues, jazz, and even psychedelia and Latin. The band has released four albums, from the debut, Land Of The Sun (2010), through The Ancient Tale (2013), and Total Absence (2016) and onto the album being reviewed, Dissonant Minds (2020).

Fatal Fusion has had a settled line-up since its inception in 2008 and the 5 members appear on all albums; Knut Erik Grontvedt (vocals), Stig Selnes (guitar), Erlend Engebretsen (keyboards), Lasse Lie (bass) and Audun Engebretsen (drums, percussion).

Dissonant Minds
is a four-track release with a running time of just over 43 minutes (43:08), with track 3, “Beneath The Skydome,” the shortest at 4:23 minutes and the final track., “Broken Man Pt 2,” is the longest track on offer at just under 17 minutes (16:42).

The opening track, “Coming Forth By Day” (14:22), is straight to work almost immediately with the band into full flow with 2 distinct passages, the sound building up, dropping away and then this flow repeating, so when the 3-minute mark is reached, the sudden arrival of an acoustic Spanish style guitar passage is a great surprise. The electric guitar puts in an appearance, now and again, before the acoustic passage is joined by a flute, which heralds the entrance of the instantly recognizable vocals of Knut Erik Grontvedt. Initially, there follows a very gentle passage before the vocals harden, and the band starts to rock, changing the style, before a switch back into the gentle, almost meandering passage, which then repeats ensuring the listener is kept on their toes (aurally speaking). Around the 7:10 minute mark, the electric guitar of Stig gets the opportunity to shine and he carries the track until the vocals return around 9:00 minutes. By 9:30 minutes, the pace has changed again and the band is in full flow with the keyboards of Erland getting the chance to come to the forefront. A more choral style keyboard passage appears around 11:20 minutes and the vocals return, as does the electric guitar of Stig and the band start to drive towards the finish. However, at 14:00 minutes, the band leaves the finale to the vocals of Knut Erilk and the superb piano of Erland.

I feel that the opening track to any album requires to be one that will grab the listener and “Coming Forth By Day” does just that. The listener is taken on a journey from the soothing and gentle to the harder and rockier areas which leave the listener looking forward to the rest of the album.

The final track, “Broken Man Pt 2” (17:22), is the second epic-length piece of music on the album and it has taken from the debut album in 2010 to come up with Part 2 of “Broken Man” which graced that earlier album. The opening of “Broken Man Pt 2” starts in a relatively gentle style with the band working as a tight unit with bass (Lasse Lie) and drums (Auden Engebretsen) setting down the solid foundations of the track. By the 6th minute, the style changes with keyboard swathes and an insistent drive from the powerhouse, the bass, and drums, behind Knut Erik’s vocals. The keyboards and that driving beat then switch with the entry of Stig’s electric guitar around the 9:00 minute mark. The track continues to drive along with the keyboards to the forefront and similar to track one, the listener is frequently teased with “retro snippets” which hark back to time away in the past, but no sooner have they appeared then they are gone. Around 11:45 minutes, everything drops away leaving the solitary piano playing a plaintive theme, which heralds the appearance of the vocals again, which are similarly plaintive, before the band are off and running, if not quite as fast as earlier, before again taking a backseat as the vocals come to the fore. The band again gets to flex their collective muscles with a keyboard-driven passage taking the track onto 15:30 minutes. Stunning guitar work just after 16 minutes heralds the impending end of the track, with the sound building to a crescendo and then simply vanishing.

A terrific final track, with the regular movement from the gentle to the more aggressive style, gives the track an edginess and the stunning solo passages, both from guitar and keyboards, completing the superb ending to Dissonant Minds.

Fatal Fusion has continued to build from the foundations set down in 2010, and Dissonant Minds is the culmination, thus far, of the evolution of the band. If you like your prog rock to sound fresh, but still give a nod of the head to the prog scene from the ’70s, welcome to the sound of Fatal Fusion. This is an album that should find its way onto many listeners CD shelves or storage areas, so give it a good listen and if this is the first Fatal Fusion release you have heard, be prepared to dig deep to collect the earlier albums.

Jim “The Ancient One” Lawson - Prog Rock Music Talk Staff
July 9, 2020

Tracks:
1. Coming Forth By Day (14:22)
2. Quo Vadimus (7:41)
3. Beneath The Skydome (4:23)
4. Broken Man Pt 2 (16:42)


Monday, June 8, 2020

Neo Prog Review: Airbag- A Day At The Beach

Release Date: June 19 2020
Label: Karisma
Website: www.airbagsound.com
  
The Norwegian band, Airbag, was formed by high school friends away back in 1994 but the release of their first EP heralds the fresh start as a “proper” band. They released a second EP which was freely downloadable from their website, as indeed, was the first release.

In 2009, the band was signed to the Norwegian label, Karisma, and the first album, Identity, was issued. This included more fleshed out versions of tracks on the two EPs, which were subsequently deleted. Three more albums followed, All Rights Removed (2011), The Greatest Show On Earth (2013), and Disconnected (2016) before the new album under review, A Day At The Beach (2020).

Initially a 5 piece band on the debut, there was a change in the drum seat for album 2, the same line-up for album 3, before a drop to a 4 piece outfit for album 4 and a further drop to a trio, comprising Asle Tostrup (lead vocals/keyboards/programming), Bjorn Riis (guitars/keyboards /backing vocals) and Henrik Fossum (drums) on this new release. Asle and Bjorn are original members with Henrik joining as the drummer from album 2, so a very settled core to the band. Guesting on A Day At The Beach, is bassist Kristian Karl Hultgren from fellow Norwegian band, Wobbler.

A Day At The Beach is a 6 track album with a combined running time of just under 49 minutes (48:50), with the opening track “Machines and Men” clocking in as the longest track at 10:48 minutes and “A Day At The Beach Part 1”, track 2, the shortest at 3:55 minutes.

The opening track, “Machines and Men” (10:48) is unmistakably Airbag, that is, if you are conversant with earlier releases by the band. As with a few Airbag introductions, there is a quiet section before any sound becomes detectable, and that first sound appears to be provided by the guest musician, Kristian Karl Hultgren’s bass. This repetitive riff is soon joined by the guitar of Bjorn Riis and the characteristic vocal of Asle Tostrup, before a more 80’s style electronica passage settles in with the band in full flow; bass, guitar, and drums perfectly in synch behind the vocals. Around 5:30 minutes, the sound falls away leaving a bass and guitar passage before the vocals return and the driving sound restarts with Bjorn’s guitar coming through loud and clear at around 7:15 minutes. The vocals arrive again nearer 8:00 minutes and an excellent instrumental section leading to the sound simply fading towards the track finale will have kept the listener’s attention. This track flows through light, airy passages and heavier, darker areas and is a superb opening track to the album.

“Sunsets” (8:16) is track 4 and starts with a little drum rhythm before the band kick into play. A slow passage that builds, then drops to leave bass and drums, and that expressive voice from Asle. A verse later and the chorus kicks in at a higher level before returning to the atmospheric music that Airbag is renowned for. Just after the 3:00 minute mark, the towering guitar provided by Bjorn takes over and drives the track along. Over the 4:00 minute mark and there is another “doff of the hat” to some 80’s electronica, before Bjorn “ups the ante” even further. Asle’s characteristic vocal takes over again before leaving the way open for the guitar of Bjorn to sweep the track on from around 6 minutes, until 7:45 minutes when it is atmospheric to the finale.

This album, A Day At The Beach, is a stunning release from the band. They have perfected, in my opinion, a “less is more” attitude with the quiet passages being as powerful for the listener, as an all-out blast from the guitar. They paint superb aural landscapes on each album and A Day At The Beach is no exception. I will happily admit to being a huge fan of Airbag, but the band has always produced “the goods” with each successive album. My advice is simple, go out and buy this album and you will not be disappointed, and it might tempt you into purchasing their back catalog.

Jim “The Ancient One” Lawson - Prog Rock Music Talk Staff
June 4, 2020


Tracks:
1. Machines And Men (10:48)
2, A Day At The Beach Pt 1 (3:55)
3, Into The Unknown (10:28)
4, Sunsets (8:16)
5, A Day At The Beach Pt 2 (5:33)
6, Megalomaniac (9:50)


Sunday, May 17, 2020

Prog Rock Review: Notion Blue-The Son, The Liar and The Victor

Release Date: May 12, 2020
Label: Digital Self Released


This was an unexpected album for review, The Son, The Liar and The Victor, as I had not heard of the band, Notion Blue before. A little bit of research gave me some info about the 3-piece rock band from Connecticut.

Unfortunately, the unifying force behind the formation of Notion Blue was a tragedy. Brothers, Gabe (drums/vocals), and Luke (vocals/guitar/bass) Chase had often joined Max (vocals/synthesizer/keyboards) and Johny (bass) Barbi for gigs since high school days. Although this happened a lot of the time, they never actually considered forming a band. Everything changed in 2018 when Johny died unexpectedly and in dealing with this loss, the three remaining friends decided to form an official band to produce a concept album about the life and times of Johny Barbi. Over the following 12 months, they worked hard, writing and recording demos and wrestling with rough ideas.

The resulting album, The Son, The Liar and The Victor, is a prog concept album greatly influenced by concept albums from The Neal Morse Band, Dream Theater and Steven Wilson to depict Johny Barbi’s life.

The album is a 10-track release with a total running time of just over 42 minutes. The longest track on offer is track 5, “Keeping Apart” which clocks in at 5:41 minutes, and the shortest is the opening track, “Memories” at under 2 minutes.

Opening the album is “Memories” (1:31) a short introduction to the album with excellent piano, strings joining in around 35 seconds, and a plaintive vocal appearing after 60 seconds. A really good piece of music to set the listener up for the rest of the album.

The fourth track, “The Liar” (5:40) has a stunning keyboard/guitar intro before dropping away to the vocals and then returning to the opening passage. The tempo builds up to another stunning keyboard/guitar interplay which drives the track on until dropping away with the return of the vocals and the opening theme. An interesting guitar riff takes the track towards the finale and a gentle fading away.

The last featured track is track 6, “Doubt Is Not A Destination” (5:36) which commences with a gentle acoustic guitar and vocal, taking the track onwards for the first 1:30 minutes, before the band starts to flow with an excellent section and a great guitar backed passage. By 3 minutes the music has returned to the gentleness of the opening section before building up as the track enters the final quarter with some excellent harmonized vocals and strings again reappearing. The gentle acoustic guitar from the start escorts the track out.


This was a huge undertaking by the three remaining friends and musicians, and they have produced an excellent prog-rock album. If I have one niggle, I do tend to find that in trying to convey areas and happenings in the life of Johny, the flow of the lyrics sometimes doesn’t quite work, but with such excellent music, it is only a niggle. The band provides sensitive lyrics, great vocals, both on lead and on the harmonies, superb bass, guitar, and keyboards going from the delicate to the soaring and the gentle to the driving.

I found The Son, The Liar and The Victor to be an excellent first album and congratulate the three band members on their achievement. Grab a listen to this album, and while I cannot guarantee that everyone will be blown away by it, I feel that many prog followers will find this of sufficient interest to add it to their collection.

Jim “The Ancient One” Lawson – Prog Rock Music Talk Staff
March 16, 2020

Tracks:

01. Memories (1:31)
02. The Gathering/Overture (4.47)
03. Always Tomorrow.\ (4.27)
04. The Liar (5.40)
05. Keeping Apart (5.41)
06. Doubt Is Not A Destination (5.36)
07. I See The Light (4.03)
08. Passing (4.20)
09. Homecoming (3.13)
10. Gates of Heaven (3.11)

 

Saturday, May 2, 2020

Crossover Prog Review: Long Earth-Once Around The Sun

Release Date: March 16, 2020
Label: Grand Tour Music
Website

Once Around The Sun is the title of the second release by Long Earth, and is the follow-up to the debut, The Source, in 2017. At first glance, a person might think that this is a new young band to the prog scene, but that would only be partially correct. Long Earth is a new band, but these guys have been around the scene for a good number of years. (I’m not sure I should say exactly how long.) The band comprises 5 members, Gordon Mackie (bass), Ken Weir (drums), Mike Baxter (keyboards), Renaldo McKim (guitar) with Martin Haggerty (vocals since 2018) replacing Neil Mackie (vocal and guitar on the debut) and have known each other from different bands over the years. Three were in Abel Ganz, two were in Identity Crisis and Mike, Ken, Gordon, Renaldo and Hew Montgomery (Abel Ganz/Grand Tour, as well as being the motivating factor of Long Earth, and co-producing both releases) all played at the same Glasgow festival in the ’80s, albeit with different bands.

To sum up, Long Earth is a new band, but there is a wealth of musical experience in the band. The debut, The Source, was eagerly awaited by the crowds of prog followers that knew of Long Earth and had seen them live, and it was very well received upon release. The follow-up, Once Around The Sun has consolidated Long Earth as being a leading light in the modern prog community.

Once Around The Sun, is a 6 track album clocking in at just under 67 minutes (66:55), with track 3, “Man In The Mirror,” the shortest track at 4:16 minutes and the final and title track, the longest with a running time of 33:06 minutes. This track is also split into 4 parts, Spring, Summer, Autumn, and Winter.

The opening track, “We Own Tomorrow” (8:06), starts by generating a little hook and a superb bass riff by Gordon, then into a soaring keyboard passage. New vocalist since 2018, Martin Haggerty, has a powerful voice and the overall effect is of excellent prog music which the listener becomes very quickly comfortable with. Recurring little hooks and Martin’s voice takes the song on with the return of that superb bass riff from Gordon around 5:15 minutes and a chance for Renaldo to show his superb guitar skills from 5:50 minutes and to then escort the track to the end of it’s running time. A wonderful start to a stunning album and the listener is eager to hear more.

The epic finale to the album, the 33:06 minute “Once Around The Sun” is split into four parts, spring, summer, autumn, and winter. The four seasons cover a year, hence the album title, as it is the time taken for the Earth to orbit the sun. The storyline mirrors the seasons as it tells the tale of a romance encompassing the hope and joy of the fledgling relationship in spring, the building of the relationship in summer, the start of doubts in autumn, and finally the ending of the relationship in winter. The lyrics convey the journey excellently and the very expressive vocals supplied by Martin, together with the sympathetic music, carry the story line majestically.


Musically, the suite goes through phases with spring being represented by an acoustic start and a very simple melody. Summer has excellent keyboard passages underpinning the vocal as the story unwinds. As summer draws to an end, the music becomes very atmospheric and melancholic as it weaves to an ending. Autumn begins with an orchestral feel before again echoing the melancholic section 2, which fits the lyrical content beautifully. The final section, winter, commences with a superb melodic opening with some excellent strings adding to the atmosphere. There is a repeated series of verses, guitar passages and keyboards plus string sections prior to Martin taking the storyline to its inevitable conclusion. Renaldo has a beautiful repeating guitar passage just before Martin brings the ending with the lyrics, “Once around the sun, but no further on. Once around the sun and our race is run.”

A stunning ending to a superb album where all the musicians have excelled. Mike with majestic keyboards, Gordon with those excellent bass runs, Ken keeping everything firmly anchored on drums, Renaldo with some exquisite guitar work and finally, Martin providing the evocative, emotive vocals.

All in all, this is a stunning follow-up to the debut, showing how the band has evolved into an excellent unit. Don’t delay, just go and get a copy of Once Around The Sun and sample what is a masterpiece of modern prog with huge leanings to the “old style,” played by musicians who have dreamed the dream and have now delivered the dream. The dream has a name, and the name is Once Around The Sun.


Jim “The Ancient One” Lawson – Prog Rock Music Talk Staff
April 28, 2020


Tracks: 
1. We Own Tomorrow. (8:07)
2. My Suit Of Armour. (5:03)
3. A Guy From Down The Road. (12:00)
4. What About Love?  (4:23)
5. The Man In The Mirror. (4:16)
6. Once Around the Sun. (33.06)


Thursday, April 30, 2020

Rock-Americana-Progressive Review: Euphoria-The Reverie Suite

Release Date: September 17, 2019
Label: Independent

Euphoria’s second release titled The Reverie Suite was released in September 2019. This is the kind of music that can be hard to put into a corner and stick a label on. For my ears, that is a fine start knowing that I was in for a lot of diversity and surprises.

I would call it Rock-Americana with a Progressive twist, just as the band describes it. What is initially indicative of the progressive leanings is the length of the tracks.

The band explains the album like this: It is a concept album based on the life of vocalist Saskia who delivers her story with an earnest passion that’s hauntingly beautiful. Its theme is centered around childhood and musically presented with a sound that evokes America in all its beauty – whether it be folk, rock, jazz, or Native purple mountains majesty with progressive tinges.

I think that statement puts it all into a proper perspective for potential listeners. It serves as a looking glass into what you can expect. It is everything and more than one would expect actually. Saskia has a rich powerful voice that pulls you right into the story and holds you. The music is all very tasteful and well suited to the lyrics and vocal style of Saskia. Every track is a musical carpet ride that will capture your imagination. In a word, it is all quite cinematic. Choosing the recording to be a concept album worked well.

Hoyt Binder’s guitar is fantastic. He can be powerful with some meaty chords or tone it down to sound quieter and more textured. He also utilizes a banjo and mandolin to get that Americana element in place sandwiched in between his power strokes. I most certainly appreciate all of his work with the stringed instruments. His multitude of talent leads the way, inviting Saskia’s inviting vocals to come out and play with the music making it a complete experience for a listener. Her vocals were giving me goosebumps.

The Reverie Suite is engaging, precise, diversified, exciting, and filled with the many colors of the world and cultures. I sincerely appreciate that kind of take on a recording, it is always impressive and something you cannot forget. The musicianship is stellar. Ronald Van Deurzen adds the quintessential keyboard element while The Americana Daydream Revival Orchestra delivers background harmonies, flute, percussion, harmonica, bass, and strings, which in turn gives their sound a layered effect that makes each track a real musical journey. (I have included a list of all contributors below)

Their magnum opus is ”Paradise Road,” which clocks in at a hefty 9:42. With this one track, you get the whole package and stylings that this band commands in one track. It is quite impressive to sit back and hear everything going on. I loved every minute of it. The long instrumental breaks are a testament to this band’s all-around talent. This is the one track I would call definitively progressive. The way it ends so suddenly with Saskia singing “And paradise is her name,” puts the final touch on the elements of prog as the door shuts and you get ready for the next track (or another one opens).

Then you get the full instrumental track “Remind Me.” It is a delight, bringing a distinct Americana/Celtic flair to your senses, transporting the listener to a world stage. Getting the full instrumental treatment of their sounds encourages you to paint your personal picture on the canvas of their music.

The Reverie Suite
may take a few listens to get it all into perspective, but I believe that any listener that has an appreciation for rock, prog, Americana, folk, or any combination thereof, will find great value in this album.

LINE-UP:
Saskia Binder - Vocals
Hoyt Binder - Guitars, banjo, mandolin, background harmonies
Ronald Van Deurzen - Piano, organ
Trevor Lloyd - Strings
Tollak Ollestad - Harmonica
Rebecca Kleinmann - Flute
Paulo Gustavo - Bass
Chris Quirarte - Drums
Mike Disarro - Background harmonies
Bobby Albright – Percussion

Mixed by Smiley Sean
Mastered by Howie Weinberg at Howie Weinberg Mastering

Keith “MuzikMan” Hannaleck
April 28, 2020
Founder of:

Review Provided By Prog Rock Music Talk

Track List: 
01. Prelude/ She's Calling 04:54
02. Reverie 07:12
03. On My Way 07:31  
04. Heartbeat 04:53
05. Bridge of Dreams 04:38
06. Queen of Hearts 04:47
07. Paradise Road 09:42
08. Move On 05:21
09. Seasons 07:00  
10. Reprise 03:24
11. Remind Me 05:44
12. Content 05:57

Monday, April 13, 2020

Crossover Prog Review: Kaprekar’s Constant-Depth Of Field

Label: Talking Elephant
Release Date: October 21, 2019



Kaprekar’s Constant was formed in London in 2016. To be honest, it was more of a rock commune than a simple band, as it involved multi-instrumentalists, specific instrument musicians, vocalists (singing and spoken word), a painter, a photographer, and a web designer.

Songwriters and multi-instrumentalists Al Nicholson and Nick Jefferson started the ball rolling and the commune grew with Mike Westergaard (keys), Bill Jefferson (voices), Dorie Jackson (voices), David Jackson (saxophones, flutes, whistles, and bells), Phil Gould (drums, percussion, and djembe), Paul Gunn (spoken word), Sean Jefferson (painting), Will Hess (photography) and Sophie Butters (web design).

As I said, this group of individuals is so much more than a simple band. Keen-eyed prog aficionados will have noticed the presence of a name that has a real prog pedigree from way back, David Jackson, from the superb Van Der Graaf Generator, and Dorie, is his daughter.

The debut album, Fate Outsmarts Desire was issued in March 2017 and was a huge hit with the music critics, and indeed, for a debut, it was a stunning collection of tracks. Album No. 2 has now appeared, Depth Of Field, and picks up where the first album left off.

Depth Of Field is a 7 track album running to just under 68 minutes, with “White Star Sunrise” the longest track on offer at 23:43 minutes, and the final track, “Depth Of Field,” clocking in at just over 2 minutes (2:09), the shortest.

Kaprekar’s Constant play a very gentle, enveloping style of prog which encompasses folk elements and can be multi-layered and bring in beautiful arrangements. To try to make a comparison is difficult but the closest band is probably Big Big Train, but Kaprekar’s Constant has a uniqueness about them. The members involved in the new album are Bill, Dorie, Al, Mike, Nick, and David.

“Ghost Planes” (10:40) is track 3 on the album and is a superb piece of music together with some thought-provoking lyrics. Making use of the stunning musical abilities on offer, this track starts with the band grabbing the listener before using old audio clips and spoken phrases backed by a very simple piano passage that takes over. Enter the male vocal (Bill) to set the scene and the listener is transported back in time to when the German “Doodlebug” bombs rained down on London and other areas. The use of the female voice (Dorie) simply adds to the overall aural soundscape. By this point, around the halfway point in the track, the listener has been pulled in, hook, line, and sinker. The tempo builds up into a driving instrumental passage, maintaining the listener's interest before the music drops into the background allowing some more audio clips to be used. Not only do you get a superb melodic piece of music, but also a snapshot of a moment in history.

The epic track No 5, “White Star Sunrise” which stretches out to 23:43 minutes, traces the story of the vessels which comprised the Olympic class of the White Star Line. There were three ships, Olympic, which had a successful career as a large luxury ship, Titanic, which dramatically was lost on its maiden trip in 1912 and Brittanic, which was used as a hospital ship in WW1, which hit an underwater mine and sank in 1916. Each part of the 3-part story works wonderfully well and provides the listener with another glimpse into history. Musically, this suite is majestic, from the intro music to the sound effects of the sea and then onto the first main passage in such a way that the listener has already become immersed in the track. The male and female vocals again take turns and this adds another dimension to the superb flow of this track. Small guitar passages adorn the main theme and provide little hooks before a complete change of style, around the 6:30 minute point, when the music becomes folky with flute and whistles expertly interspersed by David J. The suite continues to ebb and flow taking the listener along on the voyage.

I was blown away by the debut album, but this release, Depth Of Field, has taken the band up a few more rungs on the excellence ladder. I have been asked a few times, in my alter-ego as a radio presenter, if I have come across an album I would describe as a “perfect 10,” and I still haven’t, although this release comes very close. As I have said, Kaprekar’s Constant is a mellow pastoral sort of bunch, but I would suggest getting hold of this album, settling down comfortably with the lyric sheet and you will discover a majestically crafted album worthy of inclusion in anyone’s collection.

Jim “The Ancient One” Lawson – Prog Rock Music Talk Staff
April 10, 2020

Tracks:
1. Rosherville Pt 1 (10:34)
2. Holywell Street (4:38)
3. Ghost Planes (10:48)
4. The Nightwatchman (6:10)
5. White Star Sunrise (23:43)
6. Rosherville Pt 2 (9:37)
7. Depth Of Field (2:09)
 

Tuesday, March 31, 2020

Crossover Prog Review: : Different Light-Binary Suns (Part 1 – Operant Condition)

Release Date: January 17, 2020
Label: Progressive Gears Records
The band, Different Light, was initially formed in 1994 in Malta. The first of four albums were released in 1996, All About Yourself. In 1999, the band disbanded and later, in 2004, Trevor Tabone, an original member, reformed the band in the Czech Republic. Three albums have followed from this reformed band, Icons That Weep (2009), The Burden Of Paradise (2016) and the album in this review, Binary Suns (2020).

The current lineup of the band is Trevor Tabone (vocals/keyboards), Petr Lux (guitar/backing vocals), Jirka Matousek (bass) and David Filak (drums). Binary Suns has been an album I have looked forward to hearing, as the previous release I found to be a stunning work. It is fair to say that I have in no way been disappointed now that Binary Suns has been issued.

Opening the album is “Amphibious” (8:51) which is a mini-suite made up of four parts. This starts with a piano intro into a repeated passage that ebbs and flows and carries the listener along. Around the 1:30 minute mark, there is a simple piano theme, backed by a soaring guitar which leads to the vocals and a superb piano backing by Trevor. The melody is a real hook that builds up and moves along with those crystal-clear vocals catching the ear of the listener. Just before the 6:00 minute mark, the tempo drops to leave just the vocals and piano as the mainstay, before returning to the more involved melodious, harmonious part of the track. At just under 9:00 minutes, this is a stunning track, carried off and out with a superb piece of guitar work by Petr.

A shorter track, “Faith” (4:09) continues the harmonious smooth vocals so prevalent on the opening track. Although not too obvious, there is a hook that edges into your mind and “plants its feet firmly.” The piano again is the major instrument and I find it refreshing that it is the main keyboard used. More keyboards join the piano as well as some terrific guitar riffs. This is another superb track that fades out with the sound of a rainstorm. 

“Spectres And Permanent Apparitions” (21:31) is track three, the longest track on Binary Suns and is in seven parts. By this track, the listener should be aware that this is an exceptional album and the changes in tempo throughout the 21+ minutes merge smoothly and flow easily allowing the listener to drift along, immersed in the music. Little hooks are scattered liberally throughout the track and weave in and out, acting almost as touchstones on the 21+ minute journey. This is a band that works as a very tight unit and appears to be totally in tune with each other.

Binary Suns is a superb release and takes the amazing music contained on album 3, The Burden Of Paradise, to a higher level. It may only be March but I think that I have already found one of my “best of 2020” albums. All I have to say about Binary Suns (Pt 1 Operant Condition) is “do yourself a huge favor and buy it at the earliest opportunity.” I am close to 100% sure that no-one will be disappointed.

Jim “The Ancient One” Lawson - Prog Rock Music Talk Staff
March 31, 2020


Tracks:
1. Amphibians (8:45)
   a) Water
   b) Land
   c) Sky
   d) The Message

2. Faith (4:12)

3. Spectres and Permanent Apparitions (21:31)
   a) Ataraxia
   b)Two Shows
   c) Small Mercies
   d) Hand Of Providence
   e) BarBrera
   f) Synestesia
   g) Midas Gold

4. The Answer (3:47)

5. Two Faces (7:42)

6. On The Borderline (10.45)
 a) Talking To Strangers
 b) Seduction
 c) Obsession
 d) Vindication
 e) Demonic
 f) Now Just Go Away   



Tuesday, March 24, 2020

Progressive Metal Review: Epic Tantrum-Abandoned In The Strangers Room

Release Date: January 20, 2020
Label: ET Productions
One look at the cover of Abandoned In The Strangers Room from prog-metal band Epic Tantrum and you are thinking prog. It is something similar to what you would have seen on a Pink Floyd album. The choice for a band name? One word, brilliant! I love it and the artwork is eye-catching and it makes you wonder what is underneath that mask. Is it a person, alien, or creature from some dark corner or from hell itself? If you remove the red cloth what exactly will you see, something that is going to have an Epic Tantrum? It leaves it to your imagination, which in effect, is perfect for the listener with a sense of humor and an off-center thought process. It is indeed a strange cover and a creepy title for the album. There again lies the mystery and your perception of the entire package, figure it out for yourself.

Let me tell you something about this band, this is my first taste of their music, and they rock with a definitive progressive twist. I would be willing to bet at least one of these band members listened to Zappa. Lines like “I’m gonna take your skull and make you look pretty,” are not for the faint of heart. The band members are all part of the “Tantrum” family that includes Peter (guitar, vocals), Paul (guitar, vocals, keys), Greg (bass, vocals) and Z (drums). When you are endorsed by a legendary figure in prog-metal like Mike Portnoy that is very telling. Mike said of “The perfect blend of prog and metal.” And that statement could not be truer.

With a total on 19 tracks and 2 CDs, you get a ton of great music. CD1 is the studio cuts then CD2 presents all the cuts live to show you that indeed they are for real. Epic Tantrum is explosive, quirky and melodic all at the same time. And this is exactly what makes them “progressive.” According to the band’s website, the first part of the album, Abandoned, features studio recordings of previously unreleased material. The second part, In The Strangers Room, features live versions of songs from Abandoned as well as material that appeared on previously released demos. That fact there is quite impressive knowing that some of the music is just demos? They are high-quality demos that is for sure. Again, this just shows how talented this band of men are, with limitless potential ahead of them.

They are juggernauts with a vocalist perfectly suited to the music. I have to be honest though, the first time I heard the vocals I did not care for it at all (I think most people that enjoy prog-metal will love this after the first listen). Then a second try, a different day, and now I cannot figure out why I did not like it to begin with. So, there you go, with music it depends if all the sensory doors are open to the sounds and you are not sidetracked with another train of thought with the inability to really “hear” the music. And did I ever hear it all this time? You can count on it. Their ability to play at a slower pace and make some beautiful sounds that are pleasing then immediately bust right out of that at any second and peel off some vicious guitar licks backed by a powerful rhythm section is quite impressive. To see them live must be a real treat.

The guitar work is fabulous and what drives this well-oiled machine. Every track is packed with the firepower to get your blood pumping but you can also pause, and should, to hear the incredible musicianship at hand. In the end, what you get to enjoy is one of the more exciting up and coming bands in progressive metal that are going to raise some eyebrows from this point forward.


Keith “MuzikMan” Hannaleck

March 23, 2020

Review Provided By Prog Rock Music Talk


Founder of:



Tracks


CD 1:
01. Don't Bother...
02. Unfold
03. Accessory
04. Fables Of Fortune
05. Outside The Wire
06. Into the Clutch
07. Letting Go
08. False Idols
09. A Howling
10. Abandoned

CD 2:

11. Baillee's Gone Again (Live)
12. Franklin Park Blues (Live)
13. Letting Go (Live)
14. Now I Know (Live)
15. Accessory (Live)
16. Fables of Fortune (Live)
17. The Artist (Live)
18. Don't Bother... (Live)   
19. Drown (Live) 





Sunday, March 22, 2020

Prog-Rock Review: Wishbone Ash-Coat of Arms

Release Date: 28thFeb 2020
Label: Steamhammer/SPV
Website


Wishbone Ash was formed back in 1969 and is still active at this time, as shown by the release of Coat Of Arms, the album under review. They have released 28 studio albums from the self-titled debut in 1970 up to this point. One original band member is still present, Andy Powell (vocals/guitar) and together with Mark Abrahams (guitar), Bob Skeat (bass) and Joe Crabtree (drums), the band has issued a very pleasing album.

Coat Of Arms is an 11 track album with a total running time of just under 60 minutes (59:55). The title track, track 2, is the longest on the album at just under 8 minutes (7:55) and the shortest track, track 9, “Deja Vu,” is just over 4 minutes (4:07).

As normal, I have chosen to highlight three tracks from the album which I find particularly good after several hearings, but this was a difficult choice as I found the whole album was extremely good.

I will always lead with the opening track which, regular review readers will know I think sets the scene for what is to come. “We Stand As One” (4:16), commences with a short drum intro leading into a simple, but insistent, guitar riff which the listener cannot ignore. The smooth vocals of Andy Powell are as good as I remember and the guitar riff takes its leave but returns as the track progresses. That guitar hook makes “We Stand As One” an excellent opening track and makes the listener eager to sample what follows.

“Coat Of Arms” (7:55) is the title track of the album and it is a guitar passage that starts this track, leading quickly into the clear vocals and moves to another guitar riff that hooks the listener again. Neat interplay between the guitars of Andy and Mark moves the track on and there is a sense of feeling very comfortable with what the band is doing. Around the halfway point there is a section of blues guitar which evolves into a more up-tempo, dare I suggest foot-tapping, guitar passage. Entering the last 2 minutes, the earlier guitar riff reappears and brings the track full circle before winding down to the ending. This is an excellent follow on from the opening track and although some of the upcoming tracks don’t have such obvious hooks, they are by no means there as fillers.

The final track on the album, “Personal Halloween” (5:38) starts up with that superb blues style guitar and is well served by Andy’s vocals as it evolves into a real southern laid-back slice of music. The dual guitars again weave their magic and this is one of my favorite tracks.


I will admit that my first listen to Coat Of Arms did not impress me much but by the time it had been played a couple of times more, those amazing guitar hooks had certainly embedded in my grey matter. I don’t think that the music “sets the heather alight “ and if you are looking for an album that will “blow you away” Coat Of Arms probably isn’t it. If, however, you give this album a few listens, I can almost guarantee that you will find yourself whistling, humming or even singing along to most of the tracks. This is an album that possesses the “feel good” factor, so give it a try, you might be very surprised.

Jim “The Ancient One” Lawson – Prog Rock Music Talk Staff
March 18th 2020

 
Review Provided By Prog Rock Music Talk

 
Tracks:
01. We Stand As One (4:16)
02. Coat Of Arms (7:55)
03. Empty Man (5:17)
04. Floreana (5:14)
05. Drive (4:55)
06. It’s Only You I See *7.35)
07. Too Cool For AC (4:51)
08. Back In The Day (4:46)
09. Deja Vu (4:07)
10. When The Love Is Shared (4:21)
11. Personal Halloween (5:38)

Sunday, March 15, 2020

Neo Prog Review: Pendragon - Love Over Fear

Release Date: February 8, 2020
Label: Toff Records
Website


Pendragon came into existence way back in 1978 and just a couple of weeks ago were onstage in Kin-ross, Scotland for a concert showing the band is still going strong. They have released 11 studio albums from the debut in 1985, Jewel, up to the release under review at this time, Love Over Fear.

The band on this album, comprises Nick Barrett (lead vocals/guitar), Clive Nolan (keyboards/backing vo-cals), Peter Gee (bass/bass pedals/backing vocals/keyboards) and Jan-Vincent Velazco (drums/percussion). Nick and Peter are original members, Clive has been a member of the band since 1986 and only the drummer has changed several times. All in all, the band seems to be fairly settled.

The single CD version of Love Over Fear contains 10 tracks with a total running time of around 64 minutes with the second track, “Starfish and the Moon,” is the shortest at 3:37 minutes and the penulti-mate track, “Who Really Are We,” being the longest at 8:41 minutes (There is also a 3 CD version of Love Over Fear with CD 2 being an acoustic version of the album and CD 3 being an instrumental version of the same).

The opening track is, as always, an important moment when listening to a new album, as it really should be getting across the idea that “this is good, you need to listen.” “Everything,” (5:40) is the opening track and it certainly ticks all the correct boxes. A great organ passage, with a terrific hook, opens the show before a time change suddenly drops the gears a bit before the guitar gets to shine then the excellent vocals of Nick appear. More time changes carry the track onward until the return of the vocals, prior to another superb guitar passage. There is then a return to the starting theme of the track and a gentle wind-ing down to the ending.

Track 2, “Starfish and the Moon” (3:37) is very different in style, being a simple, beautiful ballad. Beauti-ful vocals by Nick and majestic piano by Clive lead into another stunning, gentle guitar passage before returning to the main theme. “Starfish and the Moon” is a short track which is very simple but excellent.

The last track on the single CD is “Afraid of Everything” (5:08) and is structured in a similar manner to “Starfish and the Moon,” with beautiful vocals, this time fronting a gentle guitar theme. The music slowly builds in the background, but never intrudes before moving into an almost “Camelesque” style guitar theme (I’m not sure that is a word, but it conveys the style of guitar playing). The track then gently builds before slowly fading out to end a very impressive album.

Having been a fan of Pendragon music earlier in their career, my opinion was that their best work was from 1991 to 2001, when they released 4 excellent albums. My interest then drifted a little but this album, has certainly returned this fan to the fold. It seems to have managed to reach those earlier heights and overall is an excellent release. Love Over Fear is an album that should appeal to the majority of neo-prog/symphonic prog fans and is a terrific addition to any CD collection.

Jim “The Ancient One” Lawson – Prog Rock Music Talk Staff
March 15, 2020


Tracks:
01. Everything (5:40)
02. Starfish and the Moon (3:37)
03. Truth And Lies (8:26)
04. 360 Degrees (5:34)
05. Soul and Sea (5:44)
06. Eternal Light (8:19)
07. Water (7:57)
08. Whirlwind (4.59)
09. Who Really Are We (8:41)
10. Afraid Of Everything (5:08)

Tuesday, March 10, 2020

Progressive Rock Review: JJ Chardeau - In Terra Cognita?

Release Date: November 15, 2019
Label: L RECORDS, Muffin Records Productions USA

A chanting overture, “Evolution,” leads into a battle-like track with “Dream In Moscow.” In Terra DCognita? (The Music of the Rock Opera Magic Musical Man) is a musical phenomenon. Not only is it an impactful recitation of wonderful instrumentation, but, the listener is gifted with a culture shock of all different languages and origins.

JJ Chardeau is certainly a man of uniqueness. As seen throughout this album, Chardeau does not limit himself to one particular styling or sound. Instead, he will push boundaries to see great success in his work and artistic expressions. For over 30 years, he’s been making Progressive Rock all his own and bending every rule he can.

“Dream In Moscow” is a beautifully written out build-up of battle or struggle. It begins as an illuminating piece, soothing the listener’s ear with a piano intro, as the orchestra and Chicago’s Danny Seraphine, along with Jethro Tull’s Martin Barre lending their voices to this piece amongst others throughout the album. “Black Taj Mahal” is a good contour for the prior track as the chimes, flute, and what sounds to be a triangle echo out a mental escape to a serene picturesque land.

“Farewell Lhassa” is another ode to a foreign area, China. One that offers up a more haunting vibe of chimes and an occasional gong and guitar riff. Voices arise of an alert message that conflict has now arisen and materials (missiles) have been stolen, almost as though someone has been compromised. This is followed up by another strictly instrumental piece.

Filled with the xylophone, keyboard, and drums to keep the rhythm in place, “DMZ” bridges the album together keeping a steady relaxed tone throughout the track. Leading into “Frisson Nippon,” is a thrilling, excitement lead-up of chimes and whistle-into-chant. It feels as though the song is taking the listener sailing through steady waters or hiking up to conquer some challenges on land or sea. “Les larmes du pacifique” starts as a tropical island getaway, going into a tragic song of tears and struggle.

“Nunavut,” is a hushed and fluted piece that has a god-like messenger speaking throughout. It sounds as though, a mission is being explained or what might be next to come on the listener’s journey, wherever the figure may be thinking of. Then we approach “The Last Rockaway.” It is different and fun from the rest of the record where it feels more like a classic rock n’ roll song. It asks of the individual’s humble beginnings as he is the sole person left of his own.

“Pablo Tequila” is a fun international song that throws even the most anti-dancer into a hip-shaking good time. It is a simple feel-good song that poses as a rarity for the record. Following that up, “Machu Picchu” is a strictly instrumental styled piece that has a very simplistic sound to it. A piano at the beginning and end, a flute, and some percussion give life to this song as it sends the listener through another conflict-to-resolution type of scenario; ending with a serene resolution.

Heading into what sounds like a Middle-Eastern piece, the majority of “Cabale Kabyle” is an easy, melodic tune that appeals well to the average listener. Towards the end there seems to be a bit of struggle or issue of sorts but, within a minute the struggle resigns to more of the strings ending the tune with peace. Next, “Walls of Lament” (the single off the record), gives a feel to me like a spy movie. It reminds me of where the spy or hero is trying to get past the laser-covered room to reclaim his stolen artifact. But, by the middle of the song, it becomes something back into a foreign land to adventure through thickets of fog as the listener wanders.

“Tchad” is probably the most complicated of the tracks to understand to a person whose only language is English. It sounds as though the vocalist is proclaiming the area their own. The fact that they will not go down without a fight shows their strength and resilience to protect what is theirs. This, combined with the finale of “The End” leads to a very powerful finale. The brightness and intensity show how to end a story properly.

Key tracks include: “Dream In Moscow,” “Les larmes du pacifique,” and “Pablo Taquila.” 
 

Gregg Keniston- MuzikMan.net Staff
March 8, 2020



Track Listing:
01. Evolution (Magical Musical Man Ouverture)
02. Dream In Moscow
03. Black Taj Mahal
04. Farewell Lhassa
05. DMZ
06. Frisson Nippon
07. Les larmes du pacifique
08. Nunavut
09. The Last Rockaway
10. Pablo Tequila
11. Machu Picchu
12. Cabale Kabyle
13. Wall of Laments
14. Tchad
15. The End? (Magical Musical Man Finale)