INDUSTRIAL:
SEABOUND: No Sleep Demon CD
There's a whole stack of German and European bands who are keeping the whole spirit, sound and killer instincts of EBM ("Electronic Body Music") alive and well - the leader is probably VNV Nation, but the likes of Seabound, Dismantled and more, are not far behind. Thus comes the new studio album from the former of the two and it's a crushing mélange of hard industrial beats and rhythms, synths and electronics soaring and diving on top with shredding depths and mind-numbing bass, and on top of all this, the sung but slightly dark, impassioned vocal carries the songs to perfection, the singer conveying an almost resigned state of emotion to his subject matter, so that rather than blasting out, he gets inside your skull a lot more subliminally. It's addictive stuff on all levels - you can't help move to it, you can't help but be caught up in its hypnotic splendours and you can't resist the vocals that invite you to enter his darkness. A stunning album.
JAZZ-ROCK:
BIRDS OF FIRE: Novenquarto CD
Essentially a trio of electric guitar-electric bass-drums, with guest keyboards, plus sax on three tracks, this is the sound of Euro-American fusion with playing running the gamut from reflective to downright tasty. The bassist is superb with touches that range from delicate to positively pounding, and the whole album is a compositional tour-de-force delivered with strength, eloquence, dexterity and purpose, but with a soul at the heart of it all. Melodic, flowing, twisting and driving, this is simply a good, solid dependable and thoroughly enjoyable slice of electric guitar-driven jazz-rock. Reference points include Steve Khan, Return To Forever, Mike Stern and more, with a great selection of melodies and moods ranging from bluesy to quite aggressive in a tuneful fusion fashion. But THAT bassist is incredible so I'd recommend this to anyone who loves their jazz-rock with a solid bass and some gloriously chiming guitar work.
PROG-ROCK:
DRAMA: Stigmata Of Change CD
My relationship with the Cyclops label is a rocky one - I keep trying to get into assorted things that come out, mostly failing miserably and then, just as I'm about to give up completely, they pull the irons out of the fire and come up with a gem - and guess what!!! - yes, they've done it again.
I bet in 2005 I'm not going to hear a stranger prog-rock album than this - strange in the sense that it practically redefines what prog-rock is in the world today - gone are the "traditional" ways of thinking and in its place is a land that's somewhere around a cross between early Peter Gabriel, 'Big Generator'-era Yes, modern Dream Theater and even some early BJH floating around somewhere too. There's a seventies spirit hanging about but he's in a modern world, a world of digital sonic spectra and crisp, clean production. The album revolves around what is essentially a single, unbroken, concept suite where each track flows smoothly into the next, where the lion's share of the leads are shared between crunchy guitars and sky-high synths, while the vocals are dramatic without sounding false, dry but not flat and generally in keeping with the whole feel of the giant concept that unfolds. With touches of symphonic here, ethnic there and an elaborate construction as you'll find, this is something very different in prog-rock circles, but also something that works well. Its appeal is fairly instant, but it's substantial too, with plenty happening on which to focus from play to play, but, above all, a feel and an atmosphere that endears it to repeat playing, and dynamics that hold it all together superbly. As I say - different - but rewarding. Be adventurous for once in your life!!
HAMADRYAD: Safe In Conformity CD
You know - I've listened to this twice now and it's just beginning to make sense. It's prog for sure - powerful prog too - with a guy whose vocal isn't a million miles away from a nasally first album-era Peter Gabriel, and a band who can really deliver some intricate and well arranged music. The sound is superb and the production equally so. The average six to seven minute length of the songs allows for some instrumental space along the way that shows the guitars and synths/organ off to their full advantage. The compositions are solid, well arranged, possess flow and depth, admittedly have few choruses or anything that you could latch onto, but with prog of this sort, that's not the name of the game anyway. It's one of those albums that you have to work with, let it in and find the rewards which, as I'm discovering, do come if you allow them in. It's not "like" anyone else although the spirit of the seventies legends does come through for the most part. Come back to me in 6 months and I'll let you know what happens!
STEVE HOWE: Spectrum CD
Whey heyyyyy!!!!! Not only is it an instrumental album, but it's an electric instrumental album AND a band album not - but not just ANY band - oh no sireee - this band features, alongside the master guitarist, ex-Gabriel/Crimson bassists Tony Levin, siblings Virgil Howe & Dylan Howe on keyboards and drums respectively PLUS Oliver Wakeman on second keyboards - it's like a new millennium supergroup for a future fusion generation! Across fifteen tracks, none of which are longer than four and a half minutes, you'll find a band that plays it tight, swings, rocks, tugs at your heart and generally lays down every melody style in the book, ranging from soaring fusion to more sedate instrumental prog and always with Steve Howe's guitar work at the heart of things, whether delivering a trademark sustained solo or showing off his more rhythm guitar-esque jazzy chops, his heartfelt acoustic slide, flowing almost liquid lead lines or chiming electric guitars. Again it's a prog-rock/fusion album at heart although the stylisitic twists and turns along the way provide ample variation and showcase the guy's writing talents as well as his undoubted playing and arranging ones too. This isn't an album that breaks any new ground or is going to have you hollering with delight - this is a solid, structured, melodic, excellently produced, deep and meaningful set of instrumentals that will just make you feel good to hear, time and time again - the all-purpose, multi-mood music album for every occasion.
PINEAPPLE THIEF: 10 Stories Down CD
It's funny how the world turns……..about three albums ago, I was astonished at how much this group sounded like Porcupine Tree - and commented accordingly. Of course, they couldn't ever have been as good as Porcupine Tree - well, not until now, anyway!! With ten songs, including a fifteen minute epic closer, a production larger than the Eiffel Tower and a set of songs that's guaranteed to amaze and delight, THIS is everything that the latest PT album should have been. This is that excellent amalgam of song-writing, arranging, playing, singing and overall delivery at its peak - and it's solidly prog-rock too. Every song, from mellotron-soaked ballads to out and out stormers with more blazing synths, guitars, and rhythm section work than you can poke a pig with, is performed to perfection, the mix of lead vocal and vocal harmonies just mouth-watering in their execution, while the depth of the arrangements becomes almost orchestral at times as mellotrons, keys and acoustic guitars lead the way over the rhythmic core of the song. Then you've got to mention the sheer originality of the compositions - even daring where a track such as the five minute 'Wretched Soil' is concerned with its twists and turns and totally unique sounding mix of guitars and rhythm section, all of which soars into this amazing sonic soup of vocals, guitars, synths, harmonies and more as the whole track just ignites and leaves you breathless - a moment that you won't forget in a hurry and will want to relive for a long time to come. Then you get the seven minute 'The World I Always Dreamed Of' which starts gloriously with soaring harmonies, warm lead vocals, a song that touches your very soul and an arrangement that wreaks of pure class with its mix of synths, mellotrons, keys, acoustic and electric guitars, chugging deep bass and solid drum work, all combining on a song that simply can't fail to move even the hardest and heaviest of hearts into a state of total euphoria. It's just makes you feel so good. Across a set of tracks, none of which you can fault in any way whatsoever, the album ends with the near sixteen minute 'Light Up Your Eyes' which simply becomes an anthem that builds and builds and builds, a trademark being that the sound is just one huge wedge of instruments rather than any obvious soloing, and even dares to end on a quiet acoustic note. You simply can't argue with an album as good as this.
PINK PROJECT (PINK FLOYD TRIBUTE): On The Wing Tour 2004 DBLDVD
Staggeringly good!! The sound quality is stunning, and as a visual treat it's got you hooked throughout. You see, here's a band - project - that wants to entertain you, even if it means doing things that the others don't. So, that means that you'll hear and see two bassists and two lead guitarists - and it's perfect. Aware of the deceptive simplicity and subtle complexity that is the music of Pink Floyd, this lot have gone out of their way to make sure that what you hear is the best thing you're going to hear from any Pink Floyd tribute band - and they don't falter once. Again, attention to detail - no less than three male and three female vocalists are employed so that each voice is as close to the sound and spirit of the real thing. It's multi-camera work so that, visually you move around the members as well as getting group settings, while the use of lights, circular screen for films and smoke, although, obviously, not up to Floyd's giddy heights, is still pretty spectacular. Musically, it's a treat - 21 (count 'em!!) tracks of classic Floyd performed to perfection with some guitar work that even outshines the originals as the two guitarists let go, while the synth and keys work is faithful, the rhythm section spot on. The female who does the lead vocal on 'Great Gig In The Sky' turns in one phenomenal performance. The only spot where you visibly cringe is on "Another Brick In The Wall Pt 2" where they wheel on what you think are a bunch of school kids, then make the mistake of going close up so you get to see the embarrassing spectacle of an age range to take your breath away for all the wrong reasons, as women old enough to be your granny are dolled up in schoolgirl uniforms, and don't look too happy with it either - honestly, if you don't laugh out loud at this bit, you've had a sense of humour bypass. But that bit aside, the rest of it is stunning - with tracks including 'Astronomy Domine', 'Echoes', 'Dogs', about two thirds of 'Dark Side Of The Moon', the obligatory 'Shine On You Crazy Diamond' and much more, this is taken from two separate concerts, both filmed superbly, while you also get movie footage of the band backstage on various locations during the 2004 tour. In the world of tribute DVD's in general, Floyd tribute DVD's in particular and the wider world of Floyd tribute bands, this is one of, if not THE, bests there is - superb and highly recommended.
RAK: Lepidoptera CD£
A sixty-two minute album that practically plays as one unbroken suite, with 20 component parts, from a band with keys, mellotron, guitars, more guitars, bass, drums, violin, cello and vocals. Now, instrumentally, it's red hot with everything getting a look-in and some pretty powerful passages along the way, influences coming from a wide variety of seventies and eighties prog bands, all wrapped up to create one highly unusual prog-brew. But I had a problem with the vocals - the guy's got one of those voice that I just can't get on with, one that has a flair for the dramatic one minute, while being more restrained, the next. But it's just the sound of the voice - it's down to what you like, in the end, mid-way through, there's a very tasty instrumental called 'Metamorphosis:3" that fairly flows along on waves of piano, guitars and subtle rhythms, before that rolls into a quite powerful proggy ballad as that tinkles out and rolls into a distinctly UK-like slice of prog. All told, it's a strong album, and if you get the chance, give it a blast - you'll either love or hate it.
DON SCHIFF: Peering Over Clouds CD
In this world today, it's a slightly unfortunate circumstance that, in musical terms, who you've "lived with" seems to count more than who you actually "are". This is a case in point - technically, emotionally and compositionally, there is very little difference between Don Schiff and someone such as Tony Levin. Yet Levin is a household name - yes, he's released some fantastic albums - but it's playing with Gabriel, Fripp and all that's helped. On the evidence of this album, Don Schiff deserves similar recognition.
Who??? Don Schiff - known, thankfully to many (but decidedly not enough) as the bassist/stick player for Lana Lane and Rocket Scientists. This is his latest solo album and, apart from a real drummer, is entirely performed on the NS/stick. OK< so I know a Chapman Stick is some kind of glorified bass guitar (I'm no musician) and in the, admittedly extensive, sleevenotes, the musician fails to tell dumb-asses like me what the thing he's playing actually is - but to be honest, once you hear this album, you don't care - hellfire, whatever it is, it does practically everything bar make the tea (and I daresay a musicin this talented could even find a way of making it do that too!!).
Music - oh yes, the music - fantastic stuff!! It's wholly instrumental, mostly original - a couple of covers including a beautiful rendition of a Lana Lane track - and the music is just astounding. You hear bass guitars, electric guitars, keyboards, even percussive extras - all played on this wondrous instrument and delivered by a composer who really knows the heart and soul of his music. It's prog-rock, it's fusion, it's strong, solid and driven to perfection by the superb drumming of Greg Ellis who runs the gamut of storm force to sensitive with ease. The spirit of Crimso, Levin and the like are very often in the background as angel overseers, but the tracks are founded on beds of melody so that there's a flow to everything you here - no showboating, no displays of flashy dexterity, nothing bombastic and thankfully, nothing that is just there to show off what the instrument can do. No, this is real music delivered with real feeling and the production is awesome. Throughout, the bass work in all its forms is astounding but the way the tracks are layered with guitar-like solos all over the place and some incredibly addictive tracks, that flow, twist and turn, you can't help but listen to and enjoy it from start to finish, each time you play it. As instrumental offerings go, this is one of the best of its kind and a stunningly good album. Gabriel? Fripp? Pahhh - who needs them - this guy can cut it without them and is at the top of his tree - or should that be stick!!!
SHADOW GALLERY: Room V LTD DOUBLE CD
The main album first - two suites, each consisting of 7 parts, and seventy-five minutes of songs and instrumentals. Now some albums come along promising to be epics and falling short, while some albums come along with no grand claims and turn out to be epics - this is the latter - and it's even better than that. The opening two minute instrumental comes roaring out like a greyhound from a trap, with all guitars blazing, as the keys and wild rhythms provide this gloriously huge sounding prog-metal introduction - steaming stuff. But then the first song comes along and it's a prog-metal ballad, a surprising touch to have something like this so early on, but its combination of female and male vocals makes it work and I was reminded a bit of some of Lana lane's arrangements along the way. Next up is the six minute 'Andromeda Strain', this time a salvo of powerful prog in the form of soaring guitars and flying upwards as the rhythms thunder and the male vocals just soar, the harmonies to die for, and a song that can't fail to have you mesmerized - I must admit that I so wanted to play it back once it had finished, but onwards. So to the eight minute 'Vow' and if this isn't one of the best examples of anthemic prog-rock, I don't know what is - the sound stretches as far as the ear can hear with an almost endless sea of guitars, keys, synths and rhythm section over which some of the best vocalizing on a prog album of recent times, ensues, again, both solo and harmony vocals just the business, while a soaring lead guitar solos mid-song as the arrangement climbs and climbs, recalling the finest Yes-meets-Spocks Beard type of sound in some ways but firmly in its own original sound-world, and just one stunning track - another stunning track! Following this are over ten minutes of instrumental space that start with a salvo of electric guitars, rifle-fire drums, crunching bass and classic seventies-sounding organ as the whole thing fires up and powers ahead to jaw-dropping degree as the pace hots up and the intensity only interrupted by the briefest of piano runs before the whole thing goes supernova in a hail of electric guitars, synths, organ and piano, a mighty sound that any number of classic bands would kill to have, as the soaring lead guitar rises higher, then falls back to reveal a lone piano melody to which is added acoustic guitar, gently impassioned vocal and such a heart-felt song, even though only a minute long, almost unexpectedly so, that it stops you in its tracks - magnificent!! Four more minutes of instrumental are introduced with synths and piano as the band cruises in and the intensity heats, whereupon an awesome lead guitar flies in and solos onwards and upwards to wondrous degree. The deep space bass synth of 'Dark' segues into the next song, the eight minute 'Torn', introduced by chiming guitars and that stunning vocal, as the string synths enter, the bass bubbles up from below, the lead vocal becomes multi-tracked and, as the guitar makes its presence felt, a Genesis-like flute comes out of nowhere as the band finally fire up and this gloriously rolling sea of anthemic song-writing and musical arranging, takes you with it on yet another uplifting experience from which you won't come down for a week, the harmony vocals, the guitar work and overall arrangements with stacks of keys and synths all around, simply breathtaking as eight minutes of genius comes and goes. But then the riffs power up and a seething slice of hi-octane prog-metal really makes things come alive to even greater extent as this incredible Dream Theater-esque slice of molten prog lights up the night sky and seven and a half minutes of prog heaven fire out, with organ leads, riffing guitars, thunderous rhythm section and powerful vocals, not to mention some anthemic hooks in the song and a muscular arrangement that's positively inspired and inspirational, all combine to create one seriously amazing track. Two further seven minute songs follow on - one anthemic masterwork, another combination of anthemic and prog-power and simply a monster of a track - before the album ends on nearly nine minutes of 'Rain', as classic a way of seeing out a prog-rock album that's as much rock as prog, and a place where the lead guitars energise, the synths flow out like a river that's burst its banks and the whole thing just spiraling upwards on a wave of sound that you'll be in awe of every time you hear it, the vocals and harmony vocals simply sensational and if this isn't one of the best closing anthems on an album such as this, then I don't know what is. Overall, this is essential listening and a complete triumph of an album - genius!!
By the way, those lucky enough to get the limited edition, on which there are thirteen minutes of demos, acoustic tracks and more, will be lucky enough to have the star of the bonus track, a twenty-four minute track called 'Floydian Memories' which has to be one of the most amazing Pink Floyd medleys you'll ever hear, the band expertly and seamlessly moving from Floyd track to Floyd track with seemingly effortless ease but it must have taken some doing to create this epic slice of electro-acoustic brilliance, as you hear 'Pigs On The Wing', 'Fearless', 'Mother', 'Eclipse', 'Point Me At The Sky' and more - trust me - you'll be ASTOUNDED when you hear this - now if this isn't creative genius, then there's no such thing. Unbelievably fantastic!!
21ST CENTURY SCHIZOID BAND: Live In Japan DVD
Visually, it's the band on stage, in concert, with a good set of lights and multi-camera work that largely holds your interest. OK, so some of the band members haven't exactly worn well but that's something you have to put up with if, although lead vocalist and guitarist Jakko comes off best on that score - which is probably why the cameras focus on him the most!! So, that's not so bad. As a performance of classic early seventies King Crimson tracks, it's what it is - workmanlike, pretty faithful to the originals and technically spot on. But Jakko ain't no Greg Lake -hell, he ain't even Boz - and the band just do it by numbers - there's no passion there at all. With the Fripp presence - spiritually and physically - so markedly absent, you do get the feeling that, as a Zappa-esque taskmaster, Fripp would have taken one listen to this and said "oi!! Schizoid Band!! Nooo!!!!!"
WILLOWGLASS: Willowglass CD
It's not often you get an instrumental prog-rock CD that concentrates on the prog and virtually entirely eliminates the rock, but that's what we have here. For this is what you'd call a tasty album - very tasty!!! Most tracks feature mellotrons - tons of them - just the way you want to hear them - as lush backings and upfront, always produced to sound full and deep, nothing wimpy about the mellotrons on this album. Then there's the synth work - sounds a lot like the classic synth solos that you used to hear in the seventies with moog-like leads weaving effective spells throughout. Oh, and mustn't forget the guitar work - the ghost of Camel comes to mind on many occasions as the oh-so fluid guitar work just soars and flies above the mellotron heaven, creating a series of melodic leads that captivates as well as engages your attention. Then there's the rhythm section - solid, driving, tight, but never bombastic or overblown, produced to sound forceful enough but never overly obtrusive, and always sensitive to what is being overlaid on top. The compositions themselves are all melodic - now that doesn't mean they are vacuous or empty - with the emphasis on prog structure, sound, feeling and depth - in many ways, it's a mellotron fan's delight, as that is the most noticeable flavour that pervades the album, with the soaring guitar work and multi-synths/keys not far behind. But, above all, this is the real sound of the seventies - your favourite seventies prog band's "solos" or "mid-song instrumental breaks" all together on one, 10-track, forty-six minute album - yes, it has that flavour, atmosphere and sound. The further you go into the album, the better it becomes, the more you play it, the better it becomes, and by the time you've finished playing it, your initial opinion that it might just be on the light side, is well and truly replaced by your opinion that this is a darned excellent slice of prog instrumental creation, and the only thing to do, is play it again - as you will find yourself doing many times to come. It really is brilliant - trust me!!
