Progressive Jazz Review: Bill Bruford’s Earthworks-Heavenly Bodies – The Expanded Collection

Release Date: November 15, 2019

Labels: Summerfold Records via Cherry Red

Website

Not to offend anyone, but I am not the biggest fan of jazz music. I usually only put it on for background noise. I don’t like how there aren’t any lyrics, and I think it’s a chore to have to sit through jazz music. With that being said, I know how complicated it is to arrange and play a jazz piece. Based on the artwork alone, I would have no interest in this album. With an album title of Heavenly Bodies, combined with what looks to be a bad collage of different pictures as the art, this album seems like some kind of religious experience. Jazz gets a bad reputation for being the “boring old man” music. Unless I am listening to this genre of music live, I would have to agree with the statement. I like jazz that isn’t your typical jazz classic, so this album should be a good discovery for the person who is new to jazz, or never really liked it to begin with.

Now Bill Bruford and his band called “Earthworks” set out to create a style of jazz that pushes the boundaries of the genre. These incredibly talented musicians showcase their playing skills with complicated techniques and difficult-to-play progressions. The names of the songs are oddly specific, but I guess you get to have fun with them when they’re the only words on the track.

“Stromboli Kicks” is the first track on disc one. It sounds like something that could be released today, in 2019. The synth is very prominent in the intro and throughout. The rhythms and notes being played are complex, and I think you would appreciate everything happening if you know anything about music theory. Otherwise, it’s just a cool jazzy song that will make you feel like you’re traveling through space. The ending is an unexpected percussive section that then builds into a big production with multi-cultural elements.

“Up North” is a milder song from disc one. It has the classic jazz sound to it, with some extra added flair from the percussive instrument that sounds like a fork tapping on a glass jar. Halfway through the song, there seems to be a pick-up in rhythm/tempo, which changes the vibe of the song into something you could dance to. “Pigalle” is named after the French neighborhood. It’s the equivalent of naming a jazz song “New Orleans.”  I would say that this is a fitting title. The accordion is what gives it that French feel. I’m not sure if any production editing was done post-recording, but the intro is very intriguing in this song. Somewhere in the middle of listening to “Nerve,” I found the perfect description for the song. It sounds like something off of an older cartoon. For example, the episodes of Tom and Jerry, where the cartoon takes place in space, is the perfect example of what I feel from this song. The clipping and chirping sounds bring out that strong outer space element. Okay, now that I mentioned this cartoon, I can’t get the idea out of my head when listening to the album.

Moving to disc two, “Dewey Eyed Then Dancing” is a good holiday song. It is romantic and uplifting at the same time. It’s a song that any hopeless romantic would dream of dancing to under a lit-up pavilion at night. I could see this song being a soundtrack in a lot of Valentine's movies. I was curious to know what surprise sounded like, and I think that “The Sound Of Surprise” didn’t do it for me. There weren’t as many fun elements as I would have hoped for. Even listening through to the very end, I still was underwhelmed by the song. "Youth" takes me back to the '20s swing era. I feel like dancing during this track, and I could see it being a good track for a '20s themed New Year's Eve party. "Thud" is cluttered with a bunch of moving melody parts. It takes me to the hustle and bustle of New York City. This song is fresh, and the sax solo is not for the faint of heart. Compared to disc one, I would say that disc two was less interesting.

Now, this is an album that you can’t just search for on Spotify. The box set is 24 discs total and will cost $94 on Amazon. It breaks down the cost to less than $4 per disc. That’s an unbeatable deal for the band’s 20 years of work. I think this album is impressive because it puts a new spin on a somewhat boring genre. The holiday season will be here in a week, so take that gift money and get your hands on this album. Any musician would like this album set, and maybe it is just something that you put on in the background, but you’ll have hours of productivity-music with the set. As I said, I wouldn’t have listened to this album, if I wasn’t reviewing it, but I’m glad that I got the opportunity to hear all the greatness contained on it.

Lily Clark – Berklee College of Music Intern

December 14, 2019

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Tracks:
Disc 1:
01. Stromboli Kicks
02. Making A Song And Dance
03. Up North
04. Candles Still Flicker In Romania’s Dark
05. Pigalle
06. My Heart Declares A Holiday
07. Temple Of The Winds
08. Nerve
09. Gentle Persuasion
10. It Needn’t End In Tears
11. Libreville
12. Dancing On Frith Street
13. Bridge Of Inhibition

Disc 2:
01. No Truce With The Furies
02. Dewey Eyed Then Dancing
03. A Part And Yet Apart
04. Reveal Without A Pause
05. The Sound Of Surprise
06. White Knuckle Wedding
07. Youth
08. Rosa Ballerina
09. Thud
10. Blues For Little Joe
 

Various Artists-A Prog Rock Christmas

Release Date: November 1, 2019

Label:  Purple Pyramid

Imagine looking forward to eating at a hyped new restaurant, only to have them lose your reservation, serve you an undercooked entrée, and an overcooked side. Such is the experience of listening to A Prog Rock Christmas. I had hoped this collection would deliver a progressive twist of sonic experimentation to these seasonal standards. What it provides is ordinary fare minus any prog-rock flights of fancy I had anticipated.

Producer Billy Sherwood, currently of Yes, would have been well served with advice to focus on quality over quantity. Six or eight tracks that elevate and push the boundaries of these classics would have been preferable to the thirteen tracks, which offer little to no such exploration. 

Leslie Hunt and Robin McAuley attempting to cover “Fairytale of New York” is either brave or ill-advised. I’d side with the latter as no version will ever come close to the bittersweet growling of the Shane MacGowan & Kirsty MacColl rendition. Malcolm McDowell as the mean one, Mr. Grinch is so pedestrian and dull, I forgot I was even listening to it and walked out of the room. 

While as a whole, the offering is tepid at best, there are a few individual gems hidden in the rough, which would serve the listener well by adding to a holiday playlist. “Carol of the Bells” by Steve Morse is one such track that actually sounds progressive. “Linus & Lucy” by Geoff Downes is a much-needed playful number. The jazz-fused piano bounces in your ears and sounds fresh. “Happy Christmas (War Is Over) by John Wetton” is soulful and hearty, yet comes across as more country-western than progressive. 

All in all, there is very little “prog” in A Prog Rock Christmas. If you’re looking for some standards interpreted by apt musicians for your office holiday party, this album will serve you well. If you’re looking for an envelope-pushing take on these classics, you’d be better served looking elsewhere. One such place might be The Jethro Tull Christmas Album. It is a season’s celebration with original material mixed with Ian Andersen-interpreted traditional arrangements. It will leave you feeling like Scrooge after his journey with the ghosts of Christmas past, present, and future, full of hope and cheer at the promise of redemption and the essence of Christmas itself.

Tom Endyke - MuzikMan.net Staff

December 4, 2019

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Tracks:
01.  Run with the Fox (Jon Davidson)
02.  Christmas Lights (Kasim Sulton
03.  Carol of the Bells (Steve Morse)
04.  The Twelve Days of Christmas (Annie Haslam)
05.  Wonderful Christmastime (Billy Sherwood, Patrick Moraz)
06.  I Believe in Father Christmas (Martin Turner)
07.  Fairytale of New York (Leslie Hunt, Robin McAuley)
08.  O Come All Ye Faithful (Sonja Kristina)
09.  A Christmas Song (Thijs van Leer)
10.  You’re a Mean One, Mr. Grinch (Malcolm Mcdowell)
11.  Linus & Lucy (Charlie Brown Christmas Theme) (Geoff Downs)
12.  Silent Night (Nik Turner, Simon House)
13.  Happy Christmas (War is Over) (John Wetton)

Crossover Prog Review: Be-Bop Deluxe-Modern Music Reissue (4 CD/1 DVD)

Release Date:  December 6, 2019

Label:  Esoteric Recordings

Website

Born out of the blues-based British rock scene of the late 1960s, Be-Bop Deluxe are part glam, part pop, part punk, and part prog. This limited five disk (4 CD/1 DVD) reissue of their 1976 classic Modern Music is a complete remaster from the original tapes. The box set contains unreleased out-takes, a BBC Radio concert performance, A TV session from BBC’s Old Grey Whistle Test, and a previously unreleased bootleg of a performance at the Riviera Theater in Chicago. These recordings were all captured during the height of the band’s creativity in 1976.

Founder Bill Nelson’s vocals conjure the earthiness of Billy Joel mixed with the gravitas of David Bowie. Lyrically, the album was inspired by the disillusionment Nelson felt toward the music business after touring the U.S. and a longing for home. Far ahead of their time, one doesn’t have to listen too carefully to hear the influence they had on post-punk English bands such as The Jam, XTC & Joy Division.

Disc 1 contains the remastered album in its entirety. “Kiss of Light” is chockfull of catchy hooks amplified by screaming guitar. It is but one side of the band as they switch gears with a softer, multi-textured beauty in “The Gold at the End of My Rainbow.” “Shine” is an extended seven-minute rock and funk jam initially released as the B side to “Kiss of Light” and this reviewer’s personal favorite.

Disc 2 is the real gem of the collection with “First Versions” and “New Stereo Mixes” of the entire album.  Those that stand out are: “The Bird Charmer’s Destiny” and “Forbidden Lovers.” Free from the sanitization of heavy production, these tracks are sharp, organic renditions, and the heart and soul of the collection. The “New Stereo Mixes” give the listener a feel for how alternative arrangements may have affected the final song.

Disc 3 gives the listener a taste of Modern Music live, with select tracks from a live show at the Hammersmith Odeon in London. “Blazing Apostles” is an extended twelve-minute sojourn where the progressive runs of Nelson’s concise guitar work are met with Simon Fox’s deep rhythms and Andrew Clark’s dancing piano riffs. This respite rings a bell in the harbor of your mind, clearing the fog and guiding you safely to shore.

While Disc 3 constrains itself to Modern Music, Disc 4 reaches back with music from the band’s first three albums, Axe Victim (1974), Futurama (1975), and Sunburst (1976) live from Riviera Theater in Chicago. Previously unreleased, the live guitar work of Bill Nelson on this disk is exceptional and will leave you wondering how he flew under the radar for so long and never reached the commercial success he so deserves. On this disc, you’ll hear the unrestrained sounds of the band breathing new life into their most popular hits at the time.

Be-Bop Deluxe is a sound you’ll feel you’ve heard before, yet it is unlike anything you’ve heard before. Textures, even within the same songs, are interspersed to produce a profound effect. You’ll hear T-Rex-like rock riffs followed by Genesis-like playful explorations followed by Jeff Buckley-like resonant vocals. If you’re discovering Be-Bop Deluxe for the first time, you’ll be pleasantly surprised and feel as if you’ve unearthed a real gem.  If you’ve known them all along, this reissue, especially Disc 2 and 4, will take your appreciation to new heights.
 
Tom Endyke - MuzikMan.net Staff
November 22, 2019

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TRACKS:
Disc 1: CD
Modern Music
The Original Stereo Mix:

01. Orphans of Babylon
02. Twilight Capers
03. Kiss of Light
04. The Bird Charmers Destiny
05. The Gold at the End of My Rainbow
06. Bring Back the Spark
07. Modern Music
08. Dancing in the Moonlight (All Alone)
09. Honeymoon on Mars
10. Lost in the Neon World
11. Dance of the Uncle Sam Humanoids
12. Modern Music (Reprise)
13. Forbidden Lovers
14. Down on Terminal Street
15. Make the Music Magic
16. Shine (B-Side of Single)

Disc 2: CD
Modern Music
The New Stereo Mix:

01. Orphans of Babylon (New Stereo Mix)
02. Twilight Capers (New Stereo Mix)
03. Kiss of Light (New Stereo Mix)
04. The Bird Charmers Destiny (New Stereo Mix)
05. The Gold at the End of My Rainbow (New Stereo Mix)
06. Bring Back the Spark (New Stereo Mix)
07. Modern Music (New Stereo Mix)
08. Dancing in the Moonlight (New Stereo Mix)
09. Honeymoon on Mars (New Stereo Mix)
10. Lost in the Neon World (New Stereo Mix)
11. Dance of the Uncle Sam Humanoids (New Stereo Mix)
12. Modern Music (Reprise) (New Stereo Mix)
13. Forbidden Lovers (New Stereo Mix)
14. Down on Terminal Street (New Stereo Mix)
15. Make the Music Magic (New Stereo Mix)
16. Shining (New Stereo Mix)
17. Forbidden Lovers (First Version)
18. The Bird Charmer’s Destiny (First Version)

Disk 3: CD
BBC Radio One “In Concert” October 2, 1976 at Hammersmith Odeon London

01. Made in Heaven
02. Bring Back the Spark
03. Kiss of Light
04. Adventures in a Yorkshire Landscape
05. Fair Exchange
06. Ships in the Night
07. Twilight Capers
08. Modern Music
09. Blazing Apostles

Disk 4: CD
Live at the Riviera Theatre, Chicago, March 1976.

01. Fair Exchange
02. Stage Whispers
03. Life in the Air Age
04. Sister Seagull
05. Adventures in a Yorkshire Landscape
06. Maid in Heaven
07. Ships in the Night
08. Bill’s Blues
09. Blazing Apostles

Disk 4: DVD

Prog Rock Review: 7-Time Will Tell

Release Date: September 27, 2019

Label: Starport Records

Website

When I started listening to 7 and their album Time Will Tell, my immediate thought was, this sounds like the early 80s Yes and Asia. That hit the nail on the head as the band was formed back then with all the songs written in that time frame. In that timeframe, I was in Japan and was asked if I wanted to go to Tokyo to see Asia. I declined my friend's offer. Looking back now I wish I went.

7 Is:
Bryan Timm - guitars, vocals
Randy Copus - lead vocals, keyboards
Scott Steele - bass
Michael Landino – drums

Music like this is retro and brings all the memories flooding back. If this had been released back then it could have competed with bands like Yes or Asia. Better late than never and as far as I am concerned because it is a joy to listen to. 

Four of the nine songs are over 5 minutes in length which is and was typical of the genre. These are classic sweeping tracks with fantastic vocals supported by strong guitar, rhythm section, and the all-important keyboards, for the finishing touch. I think even without the keyboards I would still tag it as prog rock.

There are simply no weak links in this recording however if I was pressed, my favorites would be “Time Will Tell,” “Chance of a Lifetime,” “The Knight” and “Go the Distance.” Every one of those tracks has good lyrics and a fantastic song structure with top musicianship. I like passages like “You can go the distance if you don’t let your heart go blind.” The wordplay is very clever and meaningful.

Starting the album with an ear-catching title track is a very good idea and, in this case, it gets your attention. And just as important is to close out the album strong and they do it with excellence on “The Knight.” The soaring vocals provided by Randy Copus, pulsating bass, in time drums and driving keyboards, make this a very catchy tune that you want to hear again once it is over.

It may sound outdated for 2019 because it was meant for the 80s however it remains a fact that this music is complex yet always radio-ready. That special connection to prog rock from legendary performers like Yes, ELP and Asia give this a real chance for a wide listening base. Many people still listen to this music regularly, making it a viable release. I would love to hear this on vinyl LP, it would be amazing.

I have provided the “vintage” version of the “Time Will Tell” video along with the stream from Spotify for interested listeners. If you like any of the aforementioned bands you will love this music!

Keith “MuzikMan” Hannaleck
November 24, 2019

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Review Provided By Prog Rock Music Talk

Tracks: 
1.  Time Will Tell (5:45)
2. On the Bridge (4:05)
3. Are You Ready (6:36)
4. In Time (3:44)
5. Transitions (2:30)
6. Let It Go (4:51)
7. Chance of a Lifetime (4:19)
8. Go the Distance (5:41)
9. The Knight (5:16)
 

Progressive Metal Review: Sonus Corona-Time Is Not on Your Side

Release Date: November 22, 2019

Labels: Inverse Records

Website

It’s always a pleasure to review an album before it releases. I was not familiar with Sonus Corona before this review, so it will still be fairly unbiased. Time Is Not On Your Side releases tomorrow, which is exactly the kind of title I would expect from a metal band. From what I gathered off the internet, the band formed in 2015. The six members are from Finland and have been turning the music industry upside down these past few years.

“Induction” grabs my attention with its eerie intro and ominous synths. It takes a minute, but it eventually moves into the metal sound that I was expecting. You get two for one, considering this is a five-minute song. The ending is a little abrupt, but I also didn’t mind it. The lead vocals are a nice surprise. There are some good harmonies, and for the most part, they are pretty clean for the metal genre.

The next song pretty much has every real and synthetic instrument that you could imagine on it. “Unreal” is a cool track. I can’t make out what the lyrics are, but I can appreciate the different vocal stylings that the singer jumps between. It almost has a Michael Bublé feel during the verses, but then it jumps to clean spoken vocals. I think the singer just wanted to show off his talents. “Moment Of Reckoning” seems like it has a mid-song crisis, where it has fun, yet out of place, 80’s space-aged solos spread throughout. It seems that there isn’t much that this band can’t come up with, but I also think that it makes the album a little overwhelming for people who have yet to get acclimated to the band.

“Oblivion” makes me think of heaven or something like that. Maybe it’s the lyrics, or the title, or the fact that the three-part-harmonies sound God-like. There is a ton of reverb on the vocals, which probably explains why they sound so heavenly. “Illusions” is one of the shortest songs on the album, even though it is the same length as the average song on the radio. I would say it is a soft rock song since there aren’t even any electric instruments on it. It’s a nice little intermission, before getting back to your regularly scheduled metal on the second part of the album.

This band has its own thing going on, and I would even say they have created their own sub-category of metal. I would call it like a progressive-galactic metal, or a tolerable-for-hipsters metal. Overall, I like the innovation that Sonus Corona brings to the space. Their strange combination of chords and instrumental pairings keeps the listener interested in what is to come next. If you like quirky bands, or you’re looking for something different from most of the music on the radio, check out Sonus Corona. Time Is Not On Your Side will be out by the time that this review posts, so go ahead and show them some love by picking up a copy.

Lily Clark – Berklee College of Music Intern
November 21, 2019

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Tracks:
01. Induction              
02. Unreal          
03. The Refuge  
04. Swing Of Sanity              
05. Oblivion              
06. Time Is Not On Your Side      
07. Illusions                  
08. Moment Of Reckoning          
09. To The Ground      
10. Fading          
11. Here

Progressive Rock Review: Mostly Autumn-White Rainbow

Release Date: March 1, 2019

Label:  Mostly Autumn Records

Website

The artwork on Mostly Autumn's latest offering, White Rainbow, depicts a mirrored sunrise over a snowy mountain encompassed by a white rainbow.  The image is apt, as the album reflects genuinely on the loss of their former and longtime guitarist Liam Davison, while at the same time, pointing the way to new beginnings.  

After 12 studio albums, most bands find a groove that works and ride in comfort within it.  Mostly Autumn's 13th album finds the band breaking out of any supposed rut and venturing forth to produce a modern-day progressive folk-rock masterwork.

Each track on White Rainbowis a story unto itself.  Filled with atmosphere, conflict, and triumph, crescendos rise at the point of epiphany and fall upon the listener with beauty and grace.  At seventy-nine minutes, Mostly Autumn feels in a sense like a movie soundtrack supporting a majestic drama.  Celtic folk undertones place the listener in the mind of proud warriors riding through the countryside on a quest to rescue their captured Queen. Valhalla, be damned. 

The slow atmospheric intros are joined by soaring vocal harmony and accentuated by torrents of accomplished guitar work.  At the point when the listener feels the song has reached its peak, Mostly Autumn rises to another level. Therein lies the beauty of blending folk sensibilities with progressive stylings. The songs don't have to end where one thinks they might.  White Rainbow leads the listener into a false sense of calm and security and then hit you with a guitar-driven onslaught leaving you weakened, yet exhilarated. 

The energy behind this orchestration is Olivia Sparnenn's voice, which packs the one-two punch of power and vulnerability. Think of the dramatic soprano of Ann Wilson intermingled with the tenderness of (dare I say) Olivia Newton-John. Ms. Sparnenn's vocals layered upon such vibrant musicianship put this listener in the mind of Sandy Denny on Led Zeppelin's Battle of Evermore. 

All in all, Mostly Autumn’s White Rainbow is a polished work whose whole is greater than the sum of its parts.  Listen to it straight through, and you'll realize the depth and breadth of its brilliance.  This is a progressive rock treasure you'll be thrilled you discovered and a musical dream from which you won't want to wake. 

Key Tracks Include: “Burn”, “Run for the Sun”, “Western Skies”, “Into the Stars”, “The Undertow”

Tom Endyke - MuzikMan.net Staff

November 14, 2019

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Tracks:
01.  Procession
02.  Viking Funeral
03.  Burn
04.  Run for the Sun
05.  Western Skies
06.  Into the Stars
07.  Up
08.  The Undertow
09.  Gone
10.  White Rainbow
11.  Young

Progressive Rock Review: RPWL-Live from Outer Space

Release Date:  November 15, 2019

Label:  Gentle Art of Music

Website

German sci-fi prog rockers, RPWL is back with a collection of 14 live tracks that will lift you, launch you into hyperspace, and land you safely in your living room, inspired by the journey. The best live albums serve to showcase a band’s greatest hits stripped of any studio production varnish. This brings the music closer to reality and closer to the feeling that summoned the listener in the first place. Live from Outer Space is no exception. 

Since their modest beginnings as a Pink Floyd cover band in the late ’80s, RPWL’s sound has evolved into a sophisticated, accessible progressive sound. I wouldn’t say the influence is Pink Floyd as a whole, but more specifically, David Gilmour. Yogi Lang’s subtle yet menacing voice is similar to Gilmour’s as it seems to emerge with an enlightened authority, like a God summoning his followers from on high. Lang guides his passengers through the wonders of the universe, prophesizing on what might live beyond our understanding. Think of Pink Floyd’s post-Roger Waters years with a deep-space sci-fi undercurrent. 

Live from Outer Space marks their seventh live album compared to ten studio albums. RPWL is proud of their live work, offering reinvented versions only the unrestrained freedom of a live performance can bring forth. 

Live performances also bring forth the opportunity to craft setlists that flow together cohesively. RPWL weave in the narration, which intertwines the songs into a storyline of sorts. Admittedly, during “News from Outer Space,” I had to fight off the image from Spinal Tap of Nigel Tufnel waxing poetically about the little children of Stonehenge as a two-foot-high prop is lowered onto the stage. This is hardly RPWL’s fault as Spinal Tap ruined any attempt for legitimate bands of the future to attempt any dramatic narration on stage. 

Where others zig and zag, RPWL swerves and glides through the infinite vastness of space and time. A smoother ride than some of prog rock’s jagged journeys, RPWL delivers to their fans new takes on old favorites and provides new listeners an accessible entry point into prog rock. So, set your controls for the heart of the sun, RPWL will take you on a satisfying ride you’ll want to take again and again.  

Key Tracks Include: “Not Our Place to Be”, “Roses”, “Hole in the Sky”, “Sleep”

Tom Endyke - MuzikMan.net Staff

October 25, 2019

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Tracks:
CD1
1.  A New World
2.  Welcome to the Freak Show
3.  Light of the World
4.  Not Our Place to Be
5.  What I Really Need
6.  Give Birth to the Sun
7.  Far Away from Home

CD2
1.  Hole in the Sky
2.  Sleep
3.  Masters of War
4.  Trying to Kiss the Sun
5.  Roses
6.  Unchain the Earth
 

Rock/Prog Rock-American Tears-White Flags

Release Date: June 21, 2019

Label: Escape Music Ltd

Website
 

The renaissance of 70’s power keyboard legends, American Tears is in full force with their second release in as many years, White Flags.  Not only are they influenced by keyboard-driven progressive rock of the album-oriented 70’s such as Emerson, Lake & Palmer, Genesis, and Deep Purple, they helped define the genre. Founder Mark Mangold’s boundless musical energy and skill spawn critically acclaimed, yet commercially unsuccessful releases Branded Bad and Tear Gas in the mid-’70s.  American Tears would morph into Touch in the early ’80s yet remain clouded in anonymity.  Mangold moved on to collaborate with artists such as Michael Bolton, write hits for Cher and Benny Mardones, and release his solo records.

The band’s current incarnation unearths an ambiance from a time in rock history when keyboard solos reigned supreme. Tom Scholz’s masterful Hammond organ solo on Boston’s Smokin comes to mind.  Mangold’s keyboard riffs are rife with passion and energy. The moment you feel him about to wind down and wrap up, he reinvents the song and takes it to another level.  In this regard, American Tears defies formulaic structure. To the delight of the listener, these songs keep going and going. After all, if you’re enjoying the ride, why would you want it to end? 

In a recent interview on The Final on Vinyl Podcast (or play below), Mangold quotes Pete Townsend when The Who was accused of sounding self-indulgent and pretentious “Thank you very much,” said Pete, clearly proud of being labeled as such. Mangold is justifiably proud, as well.   

Listening to his vocals on White Flags, one is reminded of the soul and range of The Cult’s Ian Astbury.  Each song on White Flags is consistently upbeat with a broad array of tempos and melodies.  Two of the more soulful tracks which accentuate his vocal range come in the form of “Give me More” and the album’s closer “White Flags.” 

To Mark Mangold, White Flagsis about surrender and sacrifice.  Giving up the battles and giving all of oneself is a sure path to freedom. The lyrics, vocals, and driving power keyboards echo that refrain.  Those who remember American Tears from the ’70s will enjoy this next chapter in their evolution while an emerging fan base is sure to keep growing. 

Tom Endyke - MuzikMan.net Staff

October 19, 2019

Key Tracks Include: “Hell or High Water,” “Fire Down Below,” “Turn U On”, “Turn the Page”

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Tracks:
01. Turn U On
02. Wake up City
03. Hell or High Water
04. Waltz of the Angels
05. Fire Down Below
06. Give Me More
07. Love is Love
08. Turn the Page (Blue Dog)
09. Pitch Black
10. Keep on Movin’
11. White Flags

Progressive Rock Review: The Inner Road-The Majestic Garden

Release Date: March 1, 2019

Label: Independent

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The Inner Road is the creation of Steve Gresswell and Phil Braithwaite, two former members of the band Coalition who joined forces to fulfill their own musical needs. On March 1, 2019, they released their fourth album The Majestic Garden. The album, along with other works of theirs, falls into the genre of progressive rock: originally a movement in the ’70's to bring new elements of sophistication to rock music. The genre gains inspiration from psychedelic music from the ’60s, often containing uncommon song structures, interludes, and heightened dynamics. The Majestic Garden is a wonderful example of prog that portrays its unique characteristics while also contributing to the genre with the addition of a fantastical layer to their music. 

A key characteristic of The Majestic Garden that sets it apart from other prog music is the usage of musical elements to suggest a fantastical setting in each song. While other prog bands like Pink Floyd and Genesis sway their audience with compelling melodies and lyrics, The Inner Road sways theirs with the atmosphere they create. The Majestic Garden transports you to a magical forest populated with giants, trolls, and faeries, you’ll feel like you’re in the middle of a high fantasy story. This is likely due to the repetition of minor scales ascending to the fifth interval and then descending, mostly seen during “Call of the Spirit” and “Water Well.” Minor scales are infamous for providing a spooky and ominous atmosphere. When they’re used as the melody of multiple songs, it causes the album to feel nothing short of supernatural. The repetition of the scale going up and down also generates a mood of suspense; the listeners hear this melody and expect it to change like usual, but it remains constant for a long portion of the song. The anticipation of a melody change sparks suspense into their listeners, a characteristic also extremely prominent in high fantasy. 

           

To add, a large contributing factor to the atmosphere of this album is the irregular rhythm in each song. For example, the rhythm section of the title track “The Majestic Garden” begins by playing four monotonous quarter notes, assisting in the creation of an upbeat melody and an inspirational ambiance. However, in the second track “Call of the Spirit,” the melody is much darker and ominous. This is reinforced by the rhythm section, whose dynamics are heightened at the beginning of the song when they play two strong quarter notes at the end of each measure. The rhythm of each song differs, either becoming more complex like in “Lost Land” or becoming more simplistic such as in “Mother Earth.” The continuous transformation from the rhythm section assists in the feeling of multiple events with different levels of significance occurring one after the other as if the album were telling a story. 

If you want to be immersed in a world similar to that of Lord of the Rings or Dungeons and Dragons, The Majestic Garden by The Inner Road is the album for you. With the assistance of musical elements such as the use of minor scales and the irregularity of the rhythm in each song, The Majestic Garden contributes to prog by adding a layer of fantasy that had been rarely seen before in the genre. 

Key tracks Include: "Call of The Spirit" "The Majestic Garden" "Mother Earth" “Fire of Life”

Ana McLaughlin-Contributor

October 3, 2019

Tracks:
1. The Majestic Garden
2. Call of the Spirit
3. Wind from the Reeds
4. Fire of Life
5. Lost Land
6. Changing Sea
7. Water Well
8. Mother Earth
9. Circle of Shadows