Neo Prog Review: Cosmograf-Rattrapante

Release Date: March 26 2021 (CD/Digital), May 28 2021 (Vinyl)

Label: Gravity Dream music

Website

 

Cosmograf is the creative vehicle of Robin Armstrong, a multi-instrumentalist (guitar, keyboards, bass, drums and vocals), who also records and produces his music in his home studio. Robin has released 8 albums, from the debut, End Of Ecclesia in 2009, to the album under review, Rattrapante, released earlier this year.

To quote Robin, "Rattrapante is a French word which has its root in rattraper, meaning to catch up or recapture. A Rattrapante chronograph watch can simultaneously time two events, such as a lap split time and a final race time. As such it was the perfect metaphor for our interaction with time.

Cosmograf albums tend to be either concept albums, or at least, themed in some way. The sound of Cosmograf is rooted in 70's classic rock with a progressive twist, and although I have used the term neo-prog (from Progarchives) to indicate the musical style, there are straight metal passages as well as classical styled themes.

Rattrapante is a 5-track album with a total playing of around 51 minutes (50:34) and the opening track, “In 1985” is the longest track at 12:46 min, with the third track, “I Stick To You” the shortest at 6:52 min.

The guest musicians involved with Robin, who plays guitar, keyboards, bass and provides vocals, are Kyle Fenton (drums and backing vocals), Chrissy Mostyn (vocals on track 3) and Tommy McNally (spoken words on track 5). NASA is also credited for the use of some sound clips on the album.
 
The opening track from Rattrapante, "In 1985" (12:43), starts with a very distinctive nod to Pink Floyd’s David Gilmour, with some superbly atmospheric guitar over a gently building background before Robin’s shout of “Are you ready?” sets us off on an autobiographical journey which manages to veer from the poignant to the angry. There is an insistent driving beat and a Middle Eastern influence before the guitar wielded by Robin soars above all. With references to Concorde, Spectrum, and Amstrad computers, the Back To The Future film, Live Aid, Queen, Bowie, Life On Mars and the Heysel Disaster, this opener certainly catches the listeners interest and draws them into the nostalgia, before bringing things up to date as the track progresses. The sound of crowds cheering through the music adds to the atmosphere of this being a "live" track. A different middle section leads back into the driving style on show at the start, and thus, ends a very stunning opening track to commence a superb album.

The closing track of the album, “Time Will Flow” (12:42) is a different style to the opening track, especially the moodiness of the music. There is a relatively long scene-setting start, in some ways similar to the opening of track 1. As the moody aural landscape builds, there is a voice that appears, but not that of Robin, but Tommy McNally, narrating the fact that time is a very precious commodity that should be used, but carefully. Lines such as "Time shapes. Time Destroys. Time brings an end to all your joys." And "We measure time, but waste it more, equally bound, the rich and poor. Use it well for it can’t be made. Do it now, don’t be afraid,” include atmospheric music behind the narration which builds continuously until around the halfway point in the track, when after another excellent guitar section, vocals appear, courtesy of Robin. There are superb lyrics and masterful music in this stunning track and towards the end, a question is asked. "Look back upon what is done. A life well-lived. But did you think, what did you give?" As the track closes out, Robin's voice can be heard in the distance drifting away.

Rattrapante is a stunning album that settles into your grey matter within a couple of plays. Cosmograf has a superbly high standard of music across all previous 7 studio albums and Rattrapante is no exception. My advice is to grab a listen to this album and then clear a space on your CD shelf to slot it into.

(If you have not heard much of Cosmograf, check out one of my radio show podcasts ("Podcast: The Ancient One - Edition 161 - Progzilla Radio ) which is “A Brief History of Cosmograf” and takes a couple of tracks from each of the 8  studio albums.)


Jim “The Ancient One” Lawson – Prog Rock Music Talk Staff
June 2, 2021 

Tracks:
1. In 1985 (12:46)
2. Rattrapante (9:44)
3. I Stick To You (6:52)
4. Memories Lie (8:29)
5. Time Will Flow (12:43)

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)

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)

Neo Prog Review: Gandalf’s Fist-A Forest Of Fey

Release Date: 20^thOctober 2014

Label: Indie

Website

I was very pleased when this album, A Forest of Fey by Gandalf’s Fist, dropped onto my desk for review as I had reviewed the last album, A Day In The Life Of A Universal Wanderer, and was very impressed by the music. Initially formed in 2005, apparently when a mutual friend of the two founding members, invented a silly name to impress someone, and thus Gandalf’s Fist was formed by multi-instrumentalist Dean Marsh and lyricist/vocalist Luke Severn. The band has been influenced by classic bands such as Pink Floyd, The Who and Iron Maiden, then Porcupine Tree. The band has produced 4 albums prior to A Forest Of Fey, starting with The Master and the Monkey (2010), Road To Darkness (2011), From A Point of Existence (2012) and as previously mentioned, A Day In The Life Of A Universal Wanderer (2013).

For this latest album, the band has been expanded with the addition of 2 more members, so alongside Dean (vocals, guitar, mandolin, keyboards and additional bass) and Luke (vocals), we now have Chris Ewen (bass) and Stefan Hepe (drums). There has also been a glittering array of guests on the album, with John Mitchell from It Bites/Arena (vocals), Troy Donockley from Nightwish/Bad Shepherds (bouzouki and low whistles), Dave Oberle from Gryphon (bodhran), Clive Nolan from Pendragon (keyboards) and Matt Stevens from The Fierce and the Dead (ambient guitar). Two other vocalists also joined in the fun, Melissa Hollick (female lead) and Jennifer Pedersen (additional backing).

A Forest Of Fey is a 12 track album with a total playing time of around 51 minutes and follows the psychedelic folk tinged journey of a young girl trapped in a malevolent woodland, so, you might have guessed what we have here is a concept album. The shortest track included on the album is little more than a connecting segment and is track 4, “The Figure Speaks” at only 44 seconds, and the longest track is the title track, “A Forest of Fey (including Wisdom of the Reptile and The Lament for a Silent Verse)” at over 8 minutes. (8:33)

As already mentioned, A Forest Of Fey is a concept album and the opening track, “Childhood Ghosts” (2:22) is an amazingly atmospheric offering as it sets the scene of the young girl wandering too far away from her mother and drifting off into the woodland. A voice drifts in and out of the background followed by a squawking crow, a creaking gate and steps on a gravel path, before the haunting vocals of Luke lead the track on into “Gardens Of The Lost” (6:03). There is some stunning work on whistles by Troy Donockley and then the crystal clear vocals of Melissa Hollick continue the story. The initial folk prog sound merges into prog rock and there are several shifts and tempo changes. Troy then reappears adding an almost Tullesque sound to the proceedings. These opening 2 tracks certainly pull the listener into the story and when the tale moves into the title track, “A Forest of Fey” (8:33) you become aware that you are listening to a stunning piece of work. The vocals are mainly the responsibility of Luke and the track floats in and out of the light and dark, all the while drawing the listener further and further in.

The shortest track, “The Figure Speaks” (0:44) is a spoken monologue, linking what has gone before with what is about to happen. “The World We Created” (5:42) gently takes the storyline onwards and is firmly steeped in prog style with some superb hooks as the track ebbs and flows. Moving into track 6 “The Circus In The Clearing” (4:44), the keyboards get the chance to shine, painting a perfect aural soundscape to depict the title. The vocals are again by Luke, before the track moves into an almost dream-like section with eventually some intense work by all the band members.

There then follows a short atmospheric piece, “Blood For A Royal Pardon” (1:37) with more dream-like vocals, which then flows into “Drifter On The Edge Of Time” (6:37). Some gentle piano starts this track with some subtle guitar work in the background, provided by Matt Stevens, before the sound builds slowly to herald the entrance of Luke and a continuation of the story which switches the vocals to Melissa and then both voices swap the lead before some excellent harmonizing. A classic keyboard passage, courtesy of Clive Nolan, builds up just prior to 6 minutes and the track meanders to a finale.

“Forest Rose” (4:36) harks again to the Jethro Tull sound with a Celtic slant and slightly different style of vocal, but the excellent high standard of both music and lyrics continue onward effortlessly. Track 10, “Return From The Tournament” (2:04) has the added contribution of Troy (Cumbrian bouzouki) and the vocals and bodhran playing of Dave Oberle. This is a very simple but effective rock ballad and leads the storyline into “Stories Old and Stories Told” (6:05) which is another superb piece of music involving John Mitchell on vocals and Matt Stevens on ambient guitar. This is a slow burner of a track, supremely melodic, which takes flight a couple of times. There is some great harmonizing between male and female voices towards the ending.

The final track “A Poison Tree” (2:37) is heralded by woodland sounds and a ringing bell and a breathy but powerful vocal which brings the story to a conclusion. This is another track which builds in intensity before returning to the plaintive sound of the mother crying out for her child.

A Forest Of Fey is best listened to in its entirety, as all concept albums should be. From the aural soundscape introduction to the return of the same as the story concludes, the listener is drawn into this majestic piece of work. I was very impressed with the previous album, A Day In The Life Of A Universal Wanderer, but Gandalf’s Fist has raised the bar by several notches. This album certainly sports both “One To Buy” and “The Experience Will Last Forever” stickers on the cover and my simple advice would be to go and get a copy as soon as you possibly can, as you will not be disappointed.

5/5 Stars

Key Tracks: Gardens Of The Lost, A Forest Of Fey, Stories Old and Stories Told

Tracks:
Childhood Ghosts
A Forest Of Fey
The Figure Speaks
The World We Created
The Circus In The Clearing
Blood For A Royal Pardon
Drifter On The Edge Of Time
Forest Rose
Return From The Tournament
Stories Old And Stories Told
A Poison Tree
 

Jim “The Ancient One” Lawson-Sr. Reviewer Prog Rock Music Talk

October 27, 2014

Review Provided By Prog Rock Music Talk

Neo Prog Review: Gandalf’s Fist-A Forest Of Fey

Release Date: 20^thOctober 2014

Label: Indie

Website

I was very pleased when this album, A Forest of Fey by Gandalf’s Fist, dropped onto my desk for review as I had reviewed the last album, A Day In The Life Of A Universal Wanderer, and was very impressed by the music. Initially formed in 2005, apparently when a mutual friend of the two founding members, invented a silly name to impress someone, and thus Gandalf’s Fist was formed by multi-instrumentalist Dean Marsh and lyricist/vocalist Luke Severn. The band has been influenced by classic bands such as Pink Floyd, The Who and Iron Maiden, then Porcupine Tree. The band has produced 4 albums prior to A Forest Of Fey, starting with The Master and the Monkey (2010), Road To Darkness (2011), From A Point of Existence (2012) and as previously mentioned, A Day In The Life Of A Universal Wanderer (2013).

For this latest album, the band has been expanded with the addition of 2 more members, so alongside Dean (vocals, guitar, mandolin, keyboards and additional bass) and Luke (vocals), we now have Chris Ewen (bass) and Stefan Hepe (drums). There has also been a glittering array of guests on the album, with John Mitchell from It Bites/Arena (vocals), Troy Donockley from Nightwish/Bad Shepherds (bouzouki and low whistles), Dave Oberle from Gryphon (bodhran), Clive Nolan from Pendragon (keyboards) and Matt Stevens from The Fierce and the Dead (ambient guitar). Two other vocalists also joined in the fun, Melissa Hollick (female lead) and Jennifer Pedersen (additional backing).

A Forest Of Fey is a 12 track album with a total playing time of around 51 minutes and follows the psychedelic folk tinged journey of a young girl trapped in a malevolent woodland, so, you might have guessed what we have here is a concept album. The shortest track included on the album is little more than a connecting segment and is track 4, “The Figure Speaks” at only 44 seconds, and the longest track is the title track, “A Forest of Fey (including Wisdom of the Reptile and The Lament for a Silent Verse)” at over 8 minutes. (8:33)

As already mentioned, A Forest Of Fey is a concept album and the opening track, “Childhood Ghosts” (2:22) is an amazingly atmospheric offering as it sets the scene of the young girl wandering too far away from her mother and drifting off into the woodland. A voice drifts in and out of the background followed by a squawking crow, a creaking gate and steps on a gravel path, before the haunting vocals of Luke lead the track on into “Gardens Of The Lost” (6:03). There is some stunning work on whistles by Troy Donockley and then the crystal clear vocals of Melissa Hollick continue the story. The initial folk prog sound merges into prog rock and there are several shifts and tempo changes. Troy then reappears adding an almost Tullesque sound to the proceedings. These opening 2 tracks certainly pull the listener into the story and when the tale moves into the title track, “A Forest of Fey” (8:33) you become aware that you are listening to a stunning piece of work. The vocals are mainly the responsibility of Luke and the track floats in and out of the light and dark, all the while drawing the listener further and further in.

The shortest track, “The Figure Speaks” (0:44) is a spoken monologue, linking what has gone before with what is about to happen. “The World We Created” (5:42) gently takes the storyline onwards and is firmly steeped in prog style with some superb hooks as the track ebbs and flows. Moving into track 6 “The Circus In The Clearing” (4:44), the keyboards get the chance to shine, painting a perfect aural soundscape to depict the title. The vocals are again by Luke, before the track moves into an almost dream-like section with eventually some intense work by all the band members.

There then follows a short atmospheric piece, “Blood For A Royal Pardon” (1:37) with more dream-like vocals, which then flows into “Drifter On The Edge Of Time” (6:37). Some gentle piano starts this track with some subtle guitar work in the background, provided by Matt Stevens, before the sound builds slowly to herald the entrance of Luke and a continuation of the story which switches the vocals to Melissa and then both voices swap the lead before some excellent harmonizing. A classic keyboard passage, courtesy of Clive Nolan, builds up just prior to 6 minutes and the track meanders to a finale.

“Forest Rose” (4:36) harks again to the Jethro Tull sound with a Celtic slant and slightly different style of vocal, but the excellent high standard of both music and lyrics continue onward effortlessly. Track 10, “Return From The Tournament” (2:04) has the added contribution of Troy (Cumbrian bouzouki) and the vocals and bodhran playing of Dave Oberle. This is a very simple but effective rock ballad and leads the storyline into “Stories Old and Stories Told” (6:05) which is another superb piece of music involving John Mitchell on vocals and Matt Stevens on ambient guitar. This is a slow burner of a track, supremely melodic, which takes flight a couple of times. There is some great harmonizing between male and female voices towards the ending.

The final track “A Poison Tree” (2:37) is heralded by woodland sounds and a ringing bell and a breathy but powerful vocal which brings the story to a conclusion. This is another track which builds in intensity before returning to the plaintive sound of the mother crying out for her child.

A Forest Of Fey is best listened to in its entirety, as all concept albums should be. From the aural soundscape introduction to the return of the same as the story concludes, the listener is drawn into this majestic piece of work. I was very impressed with the previous album, A Day In The Life Of A Universal Wanderer, but Gandalf’s Fist has raised the bar by several notches. This album certainly sports both “One To Buy” and “The Experience Will Last Forever” stickers on the cover and my simple advice would be to go and get a copy as soon as you possibly can, as you will not be disappointed.

5/5 Stars

Key Tracks: Gardens Of The Lost, A Forest Of Fey, Stories Old and Stories Told

Tracks:Childhood Ghosts
A Forest Of Fey
The Figure Speaks
The World We Created
The Circus In The Clearing
Blood For A Royal Pardon
Drifter On The Edge Of Time
Forest Rose
Return From The Tournament
Stories Old And Stories Told
A Poison Tree
 

Jim “The Ancient One” Lawson-Sr. Reviewer Prog Rock Music Talk

October 27, 2014

Review Provided By Prog Rock Music Talk