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

Release Date: January 20, 2020

Label: ET Productions

Website

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

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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) 

Prog-Rock Review: Wishbone Ash-Coat of Arms

Release Date: 28^thFeb 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)

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)

Progressive Rock Review: JJ Chardeau - In Terra Cognita?

Release Date: November 15, 2019

Label: L RECORDS, Muffin Records Productions USA

Website

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)
 

Symphonic Prog Review: Marco Bernard & Kimmo Pörsti (The Samurai Of Prog)-Gulliver

Release Date: January 25, 2020

Label: Seacrest Oy

Website

This band was originally formed as a multi-national collaboration project in 2009, with Marco Bernard (bass), an Italian resident in Finland, Kimmo Porsti (drums), from Finland and an American multi-instrumentalist, Steve Unruh. The Samurai of Prog is this core trio plus guest musicians when required. The debut release appeared in 2011, Undercover, and the album now under review is No 8, Gulliver, a concept album released last month.

Gulliver is based on the novel by Jonathan Swift (Gulliver’s Travels), and deals with Gulliver’s adventures in 4 different lands.

 Only Marco and Kimmo from the core trio are fully involved in Gulliver as Kimmo explained to me that Steve was busy with another project and I think that it may be with United Progressive Fraternity (UPF). Steve does appear on some tracks and there are 21 guest musicians also involved with the release.

Gulliver is a 6-track album with track 2, “Lilliput Suite” running to just under 18 minutes and the final track, “Finale,” clocking in at just over 3 minutes. The total playing time is just over an hour (62 minutes).

As ever, a concept album makes picking out individual tracks difficult as the storyline continues through the album, but I will try to give a flavor of Gulliver.  A mention should also be made of the superb artwork on the 6 panel CD cover from none other than Ed Unitsky.

I always feel that the opening track is very important to “grab the listener by the ears” and set them up for what is to follow. “Overture XI” (7:42) is the opener and is an instrumental dominated by old-style key-boards and switches in tempo from thunderous keys to quiet, almost pastoral, sequences. This is symphonic prog at its best. A guitar appears to take the track onward before passing the baton onto Marek Arnold and his superb saxophone. As the track reaches its conclusion, the listener is presented with a dilemma, either to continue onto the following track or replaying that superb opening track. There is a difficult choice to be made.

The second track is the longest track on the album “Lilliput Suite” (17:53) and is split into 6 sections, namely I) The Voyage Of The Antelope, ii) Prisoner, ii) Inside The Emperor’s Palace, iv) Peculiar Tradi-tions, v) The Theft Of The Blefuscudian Fleet, vi) The departure, which sees more guest musicians em-ployed to add flute, violin, and trumpet. This is majestic music with the sweeping changes in sections, from full band involvement to moments of a more delicate nature linked by superb instrumental passages.

All in all, this is a superb release by two-thirds of the Samurai of Prog core trio and as the “Finale” ends, the listener should find themself marveling at the majestic swathes of keyboards, tight guitar passages and excellent flute/violin pastoral sections.

This is one of the best Samurai of Prog releases, and if you have not dipped into the Samurai of Prog music previously, then Gulliver is the one to start with. This is an album that should be found in any true symphonic prog fan’s CD collection.


Jim “ The Ancient One” Lawson – Prog Rock Music Talk Staff
March 3, 2020


Tracks: 
 1. Overture XI (7:42)
2. Lilliput Suite (17:53)
3. The Giants (8:42)
4. The Land Of The Fools (14:30)
5. Gulliver’s Fourth Travel (10:17)
6. Finale (3:11)
 

Progressive/Rock Review: Bernie Shaw & Dale Collins -Too Much Information

Release Date: September 13, 2019

Label: Bernie Shaw / Dale Collins

Website

Kicking off the album Too Much Information, Bernie Shaw is very bright and uplifting as "So Many Times" begins. The album reminds me a lot of the band Journey and their unique sound to 80's Rock. Longtime friends Bernie Shaw and Dale Collins team up to produce an album of seismic proportions. With the assistance of Ron Restall on drums and Jason Gardenits on the keyboard, the perfect blend of Blues and Progressive Rock chemistry.

The depiction of the artwork can be interpreted as a dawn of a new day, or as the light in the sea of gray. It sizes up to the tone of the record as it avails the roughness of the waves and the heaviness of songs like "Alone" and "Hey Jimi," while that glimmer of light shone beyond the sea reflects on a more positive note of "Here We Go" and "Rock On."

Running back on "So Many Times," the song captures a lighter side of Bernie Shaw, where he typically adheres to more of an intense Metal sound. It is an excellent battle between letting the light in, feeling good, and thinking there was more one could have made a better choice along the way. "Alone" is an immediate stark contrast. The song proclaims how the singer will now be operating daily life on his own, he cannot continue to carry the weight of his other half with no sign of change or improvement.

"Here We Go," keeps the beat of every traveler's anthem. However, the song speaks of an irritating, repetitious situation that he finds himself caught in the middle of. To me, it feels very much like hiking up an endless trail or mountain; albeit, it even reminds me of the scene in Rocky, climbing the Philadelphia stairs.

"Too Much Information," the title track, is a great bridge-like track. It is not too detailed or overly emotional. Rather, it is a pleasant earworm for guitar lovers everywhere. Contrary to the title, it doesn't feel like overload at all. I probably stand alone in this thought, however, it is nice to see an artist not make the title of the album his or her main focus.

We turn now to a darker note, but, it turns out to be my favorite track of the album. "Sad Song" possesses a great blend of Shaw's vocals and both Shaw's and Collins' instrumental technique. The song has a great way of rocking like the sea, building up like a solid wave and crashing into the shore, at the height of Shaw's chorus lines.

An excellent ode to the late, great Jimi Hendrix follows up a solemn track. Upon initial listening, one is safe to assume, this might be a more somber or even heartwrenching tribute. As the song progresses it is anything but. The song calls out to the spirit of Hendrix and does his honor well by majoritively dedicating this track to being an instrumental piece. One of the great kings of Rock music would be jamming right alongside Shaw and Collins if he were able to hear this today.

"Just A Little Bit" is a great in-your-face anthem of how someone can just try to break another person down in every possible way. The person being tormented wants nothing more than to see the damage right in front of their face. You can tell as the song progresses, the singer won't let this irritation get the best of him and builds upon the harm caused by the other party.

With that rise-from-the-ashes tune, we arrive at the final song of the album, "Rock On." It is a steady, fun track emphasizing the carefree spirit of the duo. The song solidifies what every musician, band, and concert-goer have in common; and that's to simply – rock on. When everything around you seems to be on sensory overload or you might just be feeling a bit down about something in life, the message is clear; rock on with Too Much Information.

Key tracks include: “Sad Song,” “Hey Jimi,” and “Rock On.” 

Gregg Keniston- MuzikMan.net Staff

February 19, 2020

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Track Listing:

1. So Many Times
2. Alone
3. Here We Go
4. Too Much Information
5. Sad Song
6. Hey Jimi
7. Just A Little Bit
8. Rock On

Progressive Rock Review: Art in America - Cloudborn

Release Date:August 1, 2019

Label: Art in America

Website

Like a book, music can catapult you into an imaginative adventure. Art in America most definitely built their latest LP, Cloudborn around the concept of an alternate universe where all your troubles just disappear and the listener cannot wait for what may lie ahead.

The theme of experimental simplicity is fitting for this band as the band members started, as they state on their site, “in their living room kicking around some musical ideas with guitar, bass and some unusual instrumentation - … and a Japanese Koto.” Band members and siblings, Chris Flynn – lead vocals and guitar, Shisonee Flynn – harp, koto, tamboura, and vocals; and Dan Flynn – on drums and percussion, began the venture of artistry and bringing together the framework of a band. Soon, after adding Jim Kuha – on bass guitar and backing vocals, and Garry Galloway on the keys; the band was finalized and two albums later, Art in America is on the rise to become a part of every Progressive Rock N’ Roll lover’s collection and earworm.

“A Tale of the Unexpected” sounds like that of a videogame cut scene. It offers the listener a way to both, relax and get introduced to a realm of unusual instruments that typically is not included within Progressive Rock album concepts. The harp, an Indian piece called a tambura, and a Japanese koto are fused throughout the track list.

Much of the rest of the album gives off a blend of 80’s and 90’s Progressive Rock/Pop vibe. As soon as I heard the first few lines of “I Am I,” I felt like I was inside a Classic Progressive Rock or Action movie soundtrack music video. “Someday” hits right in the heart of any listener with half a sense of aspiration and hope. It proclaims that one day soon he (the singer), will get to where he needs to be.

Just take a look at this particular album art. It is of a vast and new unexplored world that leaves an imprint of a powerful image on the listener’s mind. “Drool,” on the other hand, gives the feel of a traveler that is in search of something but; no one quite knows what. The singer may just be wandering down an endless road. Rounding out the first half of the track list, “The New Swami” is one of those songs that you just cannot exactly place your finger on how to react. It contains elements of the tambura giving the tune some peacefulness. It is sung so brightly but, if you listen to some of the lyrics: “The new Swami smiles, as rubies turn to rubble;” the Swami is not as peaceful as proclaimed.

“Someone Called My Name,” is all about looking for answers. It’s a journey where all but, the voice he keeps hearing over and over again remains a constant in his life. We never do learn if he discovers who or what he has been searching for. Art in America goes back to a wild-western-type of a theme on “For Shelly.” It sings of coming to a realization of whom he had however, now she’s gone out of his life Trying to find any remnants of back to when he and his friend or lover back to simpler times, the singer is in a daydream-like state and the rhythm remains constant to maintain that feel of flashbacks. It’s a very mellow peace to bridge the album together, it almost becomes instrumental.

Going from an almost monotone beginning to an action-packed four minutes and twenty-one seconds, “Facelift” is a fun changeup from the rest of the record. It feels like the singer or the listener could be charging up to something blending with a somewhat mystical sound towards the end. It becomes one of the standout tracks on the album for the simple reason that it brings some life and rejuvenation back into the record; like a reawakening of sorts.

The last three tracks create their own personalities. “Don’t Look Down” keeps with the upbeat sequence of the prior track. It’s guitar solo, is on the shorter side but, still offers what every Progressive Rock lover desires, a pure shred of the strings through your speakers. “No Wonder” finds its way on this record perfectly as its unique sound, almost like a movie scene, or story time sequence. The lyrics do not reflect much in terms of positivity because the man in question has made some mistake that he cannot seem to identify but, she knows quite well what he did. It’s the typical couples’ flare-up of arguments, disagreements, and sometimes breakup. Finally, taking a look at the last track “Goodbye My Love / Mind’s Eye / Peace of Mind,” it is truly an ideal finale to a perfect Progressive Rock album. It begins slow and swing-like, then, by the time it gets to “Mind’s Eye,” it blossoms into an up-tempo grand finish to make the listener feel as though they are leaving the concert of their life.

Cloudborn is that album that defines experimental. It pushes all types of Progressive Rock boundaries and draws the ear of various listeners. If you are looking for a record that makes you daydream, that makes you feel good overall, and that can turn any day around; this is the album for you. Often, Progressive Rock is misconstrued as angry – when commonly dealing with Metal, or disturbed when playing a bunch of Alternative artists; there’s a third avenue of eclectic and experimental sound that can accompany a typically positive intonation.

Key tracks include: “A Tale of the Unexpected,” “The New Swami,” and “No Wonder.”

Gregg Keniston- MuzikMan.net Staff

February 15, 2020

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Track Listing: 
01. A Tale of the Unexpected
02. I Am I
03. Someday
04. Drool
05. The New Swami
06. Someone Called My Name
07. For Shelly
08. When We Were Young
09. Facelift
10. Don't Look Down
11. No Wonder
12. Goodbye My Love / Mind’s Eye / Peace of Mind

Prog Rock Review: DBA-Geoffrey Downes/Christopher Braide-Live In England

Release Date: November 29. 2019

Label: Cherry Red Records

Website

Geoff Downes and Christopher Braide are DBA. DBA stands for Downes Braide Association. Both gents are well known in musical circles and Downes has carved out a legendary slice of time with Asia and Yes and several other projects over the years, with his keyboard wizardry. Braide is a multi-talented artist, vocalist, musician, producer, and collaborator.

This matchup is one to die for with excellent musicianship and vocals beyond compare. Besides those two key players, there are important parts of the whole to make all this music complete, including Andy Hodge (bass), Dave Colquhoun (lead guitar) and special guests David Longdon (vocals and flute) and narration by Barney Ashton Bullock.

Live In England folds out into four sections holding two CDs and one DVD and an informative booklet.

I have always loved Yes and Asia including the 80s version of Yes with Downes. As all fans know that is why Asia was born. What you will hear in this immense set are 16 audio tracks then the same in the DVD. So, you get the best of both worlds. I watched the DVD first, of course, to get the full in-house impact when it was recorded at Trading Boundaries in East Sussex on September 28, 2018. The stage was normal and no-frills, just straight-ahead great music which suits me just fine thank you very much.

Christopher has an amazing voice, there is no other way to explain it. For me, it was goosebump time when the lead-off track “Prelude/Skyscraper Souls” kicked in. He has a smooth voice that can hit those high notes and perfectly enunciated for every part of each song. I did notice that when he sings in the lower register it reminded me somewhat of David Gilmour. When he goes high forget it, there are not too many vocalists that can pull off a performance as Christopher did on so many songs in one performance. I particularly appreciated that I could understand all the lyrics thanks to Christopher’s pinpoint vocal style. So enough about the vox humana.

Where would all of those beautiful vocals be without an amazing soundtrack to sing along to? That is exactly what Downes and company provide from start to finish on this performance. Downes is and was the musical centerpiece of the presentation and he even gets the stage all to himself to perform some familiar music instrumentally for the audience.

This is not just progressive rock its prog! And with some of the best-seasoned talent on the planet to present it all, fans of this kind of music will find a lot to enjoy on this set. The music covers their studio releases with precision and energy that will greatly be appreciated even with the most particular listeners.

If you don’t have the three studio albums, after hearing Live In England you will likely seek out all of those releases, I know I will.

Watch for the vinyl version of Live In England to be released on February 14th!

Keith “MuzikMan” Hannaleck

January 26, 2020

Founder of:

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Review Provided By Prog Rock Music Talk

Tracks

DISC ONE:
 1. SKYSCRAPER SOULS
2. MACHINERY OF FATE
3. LIVE TWICE
4. VANITY
5. SUBURBAN GHOSTS
6. BOLERO / VIDEO KILLED THE RADIO STAR
7. GLACIER GIRL
8. ANGEL ON YOUR SHOULDER

DISC TWO: 
1. TOMORROW
2. LIGHTHOUSE
3. SKIN DEEP
4. DARKER TIMES
5. FINALE
6. HEAT OF THE MOMENT
7. THE SMILE HAS LEFT YOUR EYES
8. DREAMING OF ENGLAND

DISC THREE – DVD (NTSC REGION 0)
1. SKYSCRAPER SOULS
2. MACHINERY OF FATE
3. LIVE TWICE
4. VANITY
5. SUBURBAN GHOSTS
6. BOLERO / VIDEO KILLED THE RADIO STAR
7. GLACIER GIRL
8. ANGEL ON YOUR SHOULDER
9. TOMORROW
10. LIGHTHOUSE
11. SKIN DEEP
12. DARKER TIMES
13. FINALE
14. HEAT OF THE MOMENT
15. THE SMILE HAS LEFT YOUR EYES
16. DREAMING OF ENGLAND
 

Prog Rock Review: Nektar-The Other Side

Release Date: January 24, 2020
Label:  Independent
Website

Early influencers of the ’70s prog-rock movement, Nektar has returned with a satisfying new release. The Other Side reaches into the past and skillfully carries the band’s groundbreaking sound into the modern age. Like many prog-rock pioneers, Nektar took chances. Their debut album, for example, contained a single 40-minute song. As with any early 70s band that is fortunate enough to remain together, Nektar has gone through changes. Today, Nektar consists of three original members (Mo Moore, Ron Howden & Randy Dembo), a returning stint player (Ryche Chlanda), and a new keyboardist (Kendall Scott).

These are experimental rock songs with driving, complex rhythms supporting flights of fancy on keyboard and guitar. Think of Jones & Bonham of Led Zeppelin meeting Rick Wakeman of YES meeting Steve Hacket of Genesis. The most enjoyable moments on this album come when the band flies away from the derivative and predictable choruses and allows Chlanda and Scott to take the listener to new heights.

Case in point is the opening track, “I’m on Fire.” The lyrics Mo Moore wrote in 1978 for his fiancé fall flat against the imaginative underlying sonic texture. “SkyWriter” is a more accessible and reminiscent of an Asia track bridging prog with pop. On the other side of the coin, “Love Is/The Other Side” is a masterful progression of melodies and tempos taking off mid-way and not relenting until the end. “The Light Beyond” and “Look Through Me” are slower, more orchestral, and introspective songs heavy on keyboard with strains of Alan Parsons.

At times it feels as if The Other Side is attempting to combine the experimental and ethereal nature of progressive rock with down-to-earth hard rock sensibilities. Sometimes it works, sometimes it doesn’t. As a listener, I found myself tuning out for the chorus and turning in for the jams. Overall, the offering is strong, and the experience is worthwhile. The better news is that Nektar is still producing quality albums and is still touring. Legend has it that they do not let their live audiences down, so check out their tour list and go see this iconic band while you have the chance.

Tom Endyke - MuzikMan.net Staff

January 23, 2019

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The Final on Vinyl

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Tracks:
1. I’m On Fire
2. SkyWriter
3. Love is/The Other Side
4. Drifting
5. Devil’s Door
6. The Light Beyond
7. Look Through Me
8. Y Can’t I B More Like U