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

4/01/2021

Symphonic Prog Review: The Emerald Dawn-To Touch The Sky

Release Date: March 20, 2021

Label: World’s End Records

Website

I have been an avid follower of the band, The Emerald Dawn, since before the release of their debut album, as I received some demo material for airplay on my radio show. With each release, the band has evolved and grown in confidence with their music and album No 4, To Touch The Sky, raises the bar yet again.

The Emerald Dawn was formed in Edinburgh in 2010 by Alan Carter (Ally) and Katrina Stewart (Tree), both multi-instrumentalists and then the band relocated to Cornwall. Joining Ally (electric and acoustic guitar, guitar synth, tenor and soprano saxophone, keyboards and vocals) and Tree (keyboards, piano, flute, acoustic guitar, percussion and vocals) was Thomas Jackson (drums) and the debut release was in 2014, Searching For The Lost Key. This first album was followed in 2017 by Visions and in 2019 by Nocturne together with some personnel changes. Under
review now is the most recent album No 4, To Touch The Sky.

The band on this newest album is Ally, Tree, Tom and David Greenaway (fretted and fretless basses) and they have produced a superbly atmospheric album. To Touch The Sky comprises just 3 tracks and has a
total playing time of just under 50 minutes (48:39), with the opening track “The Awakening” the shortest in length at 11:15 minutes and the final track, “The Ascent,” the longest at 22:17 minutes. This last track is
also split into 14 sections/parts.

The opening track, "The Awakening" (11:15), starts with a simple piano passage above some excellent bass playing and sympathetic drumming. There then follows some superb keyboard work before the hauntingly beautiful vocals of Tree enters the proceedings. This atmospheric, powerful start to the track will have drawn the listener into the world of The Emerald Dawn and the instrumental passage that follows will have transported them deeper into that realm. Some stunning guitar work by Ally carries the track along with superb support from the keyboards, bass and drums before those ethereal vocals from Tree reappear around the 7:15 minute point, and the guitar takes the lead again just after 8:00 minutes. This is the driving section towards the track finale, and the ending is reached after a short piano and guitar passage.

This has been an excellent opener to the album and should certainly have grabbed the listener by presenting them with entry into the symphonic, cinematic, powerful music of The Emerald Dawn.

Track 2, “And I Stood Transfixed” (15:07), commences with acoustic guitar, electric guitar, drums and bass and continues the aural soundscapes that the opening track introduced. The feeling depicted in this piece of music is uncertainty and of meeting with the unknown. Melodic passages, interspersed with some stunning saxophone playing, those ethereal vocals, orchestral keyboard sweeps and gentle melodic flute hold the listener a little on edge as the music swirls through phases of light and dark. The way the band move from the light melodic passages to the darker more discordant themes and back shows the confidence that The Emerald Dawn now has in their music.

The first two tracks have been setting the scene for the 22:17 minute track, "The Ascent" when our imaginary group start on a climb having passed through feelings of excitement and uncertainty. With 14 parts to this epic track, ranging from “Exordium,” “In The Foothills,” “Passing Through The Final Village With Its Bustling Street Market, They Ponder The Challenges Ahead,” to “The Last Push,” “As The Wind Dies Down And The Clouds Part, They Find Themselves at The Summit,” “On Top Of The World” and “Addendum: The Dangerous Descent Commences,” the music of The Emerald Dawn continues to paint such detailed soundscapes that the listeners are there beside the group, feeling the emotions every step of the way.

The music starts gently before moving into a simple classically-styled piano passage with a flute motif appearing before the piano leads into the electric guitar passage leading to the start of the journey. These themes will be revisited throughout the length of the track. There is a change as those beautiful vocals appear after a stunning keyboard theme to explain that the travellers have glimpsed “The First Sight Of The Mountain." The band released a couple of the parts of "The Ascent" as a sampler/teaser before the pre-order date of To Touch The Sky, and these were part (vii), "While Pausing On A Steep Slope, They Watch An Eagle Soaring Effortlessly Above Them" and part (viii), "Resuming The Climb, They Feel The Wind Rise As The Clouds Close In." I was standing in my kitchen gazing into the distance at the snow-covered Red Cuillin mountains in the sunshine listening to these clips of music and the view, the music and my imagination all combined to produce the "perfect moment." "The Ascent" is a majestic track that shows the musical evolution of this band.

From the melodic to the edgy guitar, the stunning keyboards and piano, the ethereal vocals of Tree, the haunting flute and that superb melancholy, discordant saxophone all underpinned by stunning bass and excellent drumming, I think I have a contender for my “Album Of The Year 2021.” I am aware that it is only March, but To Touch The Sky is a magnificent album that seems to provide evidence that The Emerald Dawn are truly on their way. The first 3 albums showed a progressively evolving style, but this release has taken a quantum leap forward.

My simple advice is to clear a space on your CD shelves to house this masterpiece.


Jim “The Ancient One” Lawson    Prog Rock Music Talk Staff.
March 25, 2021
 

3/30/2021

Rock-Blues Review: Cactus-Tightrope

Release Date: April 02, 2021

Label: 2021 Purple Pyramid Records / Cleopatra Records

Website

It’s like old-time classic rock, progressive rock, the ‘60s, and the blues all got together and came up with Tightrope. The album has the perfect blend of contemporary progressive and classic rock sound with a blast from the past. Carmine Appice has now rejoined in attempts to “re-energize the band”. The band has had quite the rollercoaster from the 1970s to now. Truth be told I had never recognized them in my father’s record collection, but, after listening to this record I’m sad that its taken me this long to discover them.

From booming successful beginnings to the death of their original frontman Rusty Day in 1982, to having a revolving door of sorts of members due to varying individual reasons. That is until once again, the band began to see a rebirth of their notoriety and success in 2006. Only, this time Appice is the main driver behind the band’s reformation and a rocket towards hits on the charts once more.

Tightrope’s title track begins the entire record with a crash of the drum that fuels the record and has just enough thrill in the song to come away at the same time as a mellow rock introduction. Then we get into their version of “Papa Was a Rolling Stone.” Now, I may be a bit biased because this is already my favorite song of all time. However, the way they’ve re-done the hit song is completely badass and incorporates an even stronger blues element, fused with rock n’ roll power throughout.

“All Shook Up” follows suit in a foot-stomping good time with an extensive guitar and drum combination solo that marries together the thrashing feeling of the message of the song is “all shook up” while also pumping an adrenaline rush into the track. Then, slowing down with “Poison in Paradise,” the torn-up emotional blues song, causes the singer an internal struggle of what had just transpired in his personal life. “Third Time Gone” is a fun write-off-themed song, showing how the third time is not always the charm.

“Shake That Thing” offers a slowed-down break from the peddle-to-the-metal, headstrong rock show so far. It is quite possibly the most blues-driven track on the album. Afterward, “Primitive Touch” rushes back into a frenzy of high-fueled guitar and harmonica blends. All he wants here is just one thing, of which he can’t escape until he gets what he desires.

We reach “Preaching Woman Man Blues” which expels obvious worldly truth in the beginning, “you’ve got to put in your time, you’ve got to pay your dues.” And then, soon the song progresses to much of an instrumental piece with its heavily guitar-laden work to deviate from the rest of the album. “Elevation” gives off a Led Zeppelin vibe that makes it the highlight track of the entire record. “Suite 1 & 2: Everlong, All the Madmen” is a hauntingly, captivating song that sets the listener halfway in a trance then sings of an aftermath of sorts.

As we round out Tightrope, “Headed for a Fall” finds itself reviving some pop-rock energy that is just pure power and excitement. “Wear It Out” is a great song to come to a middle-of-the-road point. The song isn’t overdone or extremely heavy in its rock roots and yet, it maintains enough composure of energy to wind out the album and leave the listener wanting more.


Gregg Keniston - MuzikMan.net Staff
March 24, 2021
 

Track Listing:
01. Tightrope
02. Papa Was a Rolling Stone
03. All Shook Up
04. Poison in Paradise
05. Third Time Gone
06. Shake That Thing
07. Primitive Touch
08. Preaching Woman Blues
09. Elevation
10. Suite 1 & 2: Everlong, All the Madmen
11. Headed for a Fall
12. Wear it Out
 

3/24/2021

Rock-Blues Review: Steve Cropper-Fire It Up

Release Date: April 23, 2021

Label: Provogue

Website

 

If you have any familiarity with Booker T. and the MG’s or all the music coming out of the legendary Stax label, then you know the name, Steve Cropper. All that music I have always appreciated and the craft of Cropper on the six-string leading the way. You won’t hear his name mentioned amongst the greats such as Clapton, Beck, and of course Hendrix. My thought is that he was recognized in his genre and all his contributions to countless recordings including his solo recordings. He played at a very high level and continues to do so as the new release Fire It Up will attest. He is right up there on the list with the big boys as far as I am concerned.

Fire It Up features Cropper at his level best with Nioshi Jackson (drums), Roger C. Reale (vocals), and Jon Tiven (bass, sax, keys, harmonica, background vocals, with shared production duties with Cropper). Some other names contributed that you will recognize as well are Felix Cavaliere, Anton Fig, Simon Kirke, the list is extensive. All of that fine talent coming together to lend a hand gives Fire It Up some flow and cohesiveness that adds to the spark of that amazing guitar playing on display from start to finish.

There are thirteen cuts on the album. After listening to all of them I felt as though there was nothing that seemed out of sync or so different that it stood out as the one track that would be left in the can for future consideration. This is quality rock and blues with a strong underpinning of soul that comes through the vocals nicely.

I think the versatility that Cropper offers on this release is exceptional. “Bush Hog, Pt. 1” is a snappy instrumental to kick things off. The title track is a funky bluesy burner with Reale on vocals to complete the song. As things move along you hear will so many of those sweet crisp licks from Cropper. My favorite amongst many was “Heartbreak Street” and “She’s So Fine,” which sounded like a good choice for a single release to create a buzz about the album.

Cropper is 79 years young and he still has that fire burning in his belly. He floats like a butterfly and stings like a bee (thanks for that line Muhammad Ali) on this recording. The band he pulled together to support him certainly does Fire It Up at every turn making this a classic offering that stands as one of the best releases I have heard this year.


Keith “MuzikMan” Hannaleck-MuzikMan.net Founder
March 22, 2021
 

Tracks:

01. Bush Hog, Pt. 1    
02. Fire It Up        
03. One Good Turn        
04. I'm Not Havin' It        
05. Out of Love        
06. Far Away     
07. Say You Don't Know Me        
08. She's So Fine        
09. Two Wrongs        
10. Heartbreak Street        
11. The Go-Getter Is Gone        
12. Bush Hog, Pt. 2        
13. Bush Hog


3/16/2021

Rock Review: The Dead Daises-Holy Ground

Release Date: January 22, 2021

Label: The Dead Daises Pty Limited

Website

The Dead Daisies hold so much street credit both past and present since their breakout in 2012, the revolving door keeps spinning with great music throughout. The current line-up: Dough Aldrich (Whitesnake/Dio), Deen Castronovo (Journey), Glenn Hughes (Deep Purple), and David Lowry (Red Phoenix) came together to offer us, Holy Ground coming from rock legends. Some prior members included: John Corabi (Motley Crue), Darryl Jones (The Rolling Stones), and John Tempesta (The Cult/Rob Zombie). As you can see, the band is a collage of rock and roll greatness.

Listening to Holy Ground, it feels like real music has found its way back to the airwaves and speakers. Having this band rise over the years means not only, that there are people that still crave the realness of music and true musicianship, but more than just machinery and auto-tuned pop or techno beats. The strength and power behind Hughes’ vocals represent just what love and dedication to a musician’s life can showcase grand results.

The album itself is a pure adrenaline rush. The intro and also title track “Holy Ground (Shake the Memory)” is an earthquake of head-banging thrill. Fittingly, “Like No Other (Bassline)” is very much focused on the bass. “Come Alive, “Bustle and Flow,” (one of the main focal tracks), and “My Fate” are all songs that maintain a battle and struggle theme or anthem throughout. The way the album is set up, “Bustle and Flow” is one of the breaks in the album where there is a bit more levity and a slight pop sound to attract a wide audience rather than them sticking to one set group of people. It sets up this back and forth between a darker or more serious tonality like “My Fate” and “Come Alive” and a pure foot-stomping, sing-along-styled “Bustle and Flow” and “Chosen and Justified.” The single “Chosen and Justified” follows as a strong continuation of the prior three tracks, yet this packs a powerful punch to keep the momentum going.

There are cracks within “Saving Grace” but, in a good manner of speaking. The cracks are where the singer proclaims that his other half is the symbol for everything that frees him of the chains that bind him to the world. Not to mention, a guitar solo finds its way to blend into the message of the song to entice the listener to more. “Unspoken” feels like it belongs inside an action movie during a battle scene. Then to follow, “30 Days in the Hole” harkens right back to that ‘80s hair-band feel. It’s the most ‘fun’ track on the whole record, as far as radio-friendly (pop-rock) is concerned. But, songs like this, “Righteous” find hints of Guns N’ Roses blasting through.

While “Far Away” ends the album on a more melancholy note, the concept of calling out to someone during the chorus is exciting on its own; enough to not have it be your typical last track lead-out song. However, taking a look after this album is complete, Holy Ground certainly has the listener feeling like they are reliving the glory days of rock n’ roll once again. Truth be told, I had never heard of The Dead Daises up until this point, and thought very much so, that they would be a Grateful Dead Tribute band. Oh boy, was I in for a much-welcomed surprise. Thankfully, after hearing The Dead Daises the first time around, I cannot wait to go back and listen to their other four records that are bound to send me or any listener on yet another time warp.


Key Tracks: “Holy Ground (Shake the Memory,” “Chosen and Justified,” “30 Days in the Hole.”

Gregg Keniston - MuzikMan.net Staff
March 12, 2021 

Track Listing:
01. Holy Ground (Shake the Memory)
02. Like No Other (Bassline)
03. Come Alive
04. Bustle and Flow
05. My Fate
06. Chosen and Justified
07. Saving Grace
08. Unspoken
09. 30 Days in the Hole
10. Righteous Days
11. Far Away


3/04/2021

Prog/Cinematic Rock Review: Esthesis-The Awakening

Release Date: November 14, 2020

Label: Autoproduction

Website

 

Esthesis is a French project formed by Aurelien Goude (keyboards, vocals, guitar, bass) and inspired by 70’s British Rock, especially prog rock. In collaboration with three other musicians, Baptiste Desmares (lead guitar), Marc Anguill (bass) and Florian Rodrigues (drums), the four-piece band have released an EP, Raising Hands, in 2019 and a full-length debut album, The Awakening, in November 2020.

I chanced upon this band by accident, and count myself very lucky to have done so, as I was instantly transfixed by the stunning music found on the full-length debut. I was lucky enough to get hold of one of the limited-edition CDs initially released as they sold out fairly quickly, but the band have now issued a standard CD to allow for the increasing demand for the bands' music.

With repeated plays, it is possible to detect very specific influences, such as Pink Floyd and Porcupine Tree from the UK, Rick Miller (another great discovery I came across late in 2020) from Canada and those Norwegian giants, Airbag.

The Awakening is a six-track release with a total playing time of just shy of 60 minutes (59:39), with the opening track, “Downstream,” the longest at 16:31 minutes and the penultimate track, “The Awakening,” the shortest on offer at 6:26 minutes.

To start a debut album with “Downstream,” a 16+ minute epic, shows the self-belief that the band carry at the moment. An atmospheric start leads to guitarist, Baptiste, gets to show his bluesy side before the vocals of Aurelien appearing, smooth and understated, but so fitting the music. The track progresses with instrumental sections interspersed with those vocals and that blues styled guitar very much the central feature. The band even manage to fit in an atmospheric whistling section, which reminded this reviewer of the whistling section in the “Wind Of Change” track by the Scorpions. This opening track gently transports the listener along on a very subdued, laid back journey. During the journey, the piano of Aurelien, the guitar of Baptiste, the soft gentle vocals of Aurelien and the tight power unit of Marc (bass) and Florian (drums), flow effortlessly. At around the 9:30 minute point, there is a change in tempo increasing the urgency of the track, but the superb guitar playing maintains the atmospheric soundscape. At 11:30 minutes, another change reinstates the piano as the main instrument with the guitar slotting into the background but exerting a huge influence. A bit of vocalization adds to the aural picture the band are setting out for the listener. Entering the last 2 minutes, the track starts to drive toward a finale. Some more aggressive playing takes the track out and sets the listener up for the rest of the album.

“No Soul To Sell” (8:33) track 2 on the album is a very different style and hints at the wide-ranging ability of the musicians. With a chunkier guitar riff, more "in your face" drumming and a superb bass produce a total style contract to the opening track of The Awakening. A heavier riff-laden section fades and the bass reappears away in the distance as the track moves into an atmospheric meander, leading to an acoustic guitar passage before the organ, bass and guitar drive the track to completion.

“Chameleon” (8:06), and the fourth track, starts with an acoustic guitar riff before being joined by the smooth vocals and then some vocal harmonizing. The sound continues to be “fleshed out” by the presence of the bass and drums and ultimately, the organ appears swirling away in the background. Just before the 3:00 minute point, that bluesy style guitar soars over everything before disappearing as firstly the voice takes over and then the organ. A chunkier section of the acoustic guitar then gives way to a simple but sublime organ passage and a little more of the harmonizing vocals. An interesting change of sound style just before the 7:00 minute point ushers in a swirling heavier sounding organ that escorts the track out.

The Awakening is an amazing debut album by Esthesis which is a pleasure to listen to. From the smooth vocals, intense drumming, intricate and chunky guitars, superb bass lines and beautiful piano plus swirling organ, the members of the band grab the attention of the listener at the album outset, take them on a 60-minute journey of discovery before gently returning them as the last few notes fade away.

My simple advice is to grab a listen to The Awakening and then add it to your collection.

By the way, Esthesis has just announced that a trip-hop version of the closing track, "Still Far To Go" will be released on Bandcamp on March 5th 2021.



Jim "The Ancient One" Lawson Prog Rock Music Talk Staff
February 26, 2021

Tracks:
1. Downstream (16:31)
2. No Soul To Sell (8:33)
3. High Tide (10:35)
4. Chameleon (8:06)
5. The Awakening (6:26)
6. Still Far To Go (9:28)


2/23/2021

Rock Review: Age of Aquarius-Out There

Release Date: March 3, 2021

Label: 2020 Age of Aquarius

Website


After their seismic debut Dawn of the Age of Aquarius, the band of the same title – Age of Aquarius is back, this time, with an intergalactic sound. Out There, unveils a unique outer space saga that brings about everyday questions of what more could lie beyond this world. What really might lie….out there in the great beyond? The band’s addition of Nakoma Z gives the album an elegant tonality to the record and touches of pop to the progressive-rock base and foundation of the album.

“Anyone out There” starts off the record by playing into the overall theme of extraterrestrial life but, at the same time asks a more direct question pertaining to her own life. Feeling alone, she craves companionship and repeats the question throughout the song, longing for completion. On the intro of “Face of the Unknown,” there is a tinge of bluegrass/country that quickly graduates into a song of pure rock of this image or creature we cannot quite make out but, we are so curious to find and identify. This alludes itself more to the serious note of worldly wonders.

“Mysterious Light Being” is almost like a part 2 to track two. A duet that is a double entendre of sorts, where both individuals are curious of this light being. Yet, the male counterpart  - Peter Cox, could also identify as the mystery being himself. It’s a beautiful expression of longing and attempting to make the best out of the unknown and the longing to know for certain what is real and what is imaginative.

Asking the longing, never-ending questions, “Alone In the Universe” is a more serious-mannered song, tending to the nature of human beings versus other walks of life… or if there should be any at all. The echoed quality of the production, along with the deeper male voice offers a more reflective view of the song’s message. It also goes a little deeper, turning the tables back on our own human ways – asking “What if”?... of a utopian way of life. The effectiveness of this piece has much to do with the melancholy nature of the ballad.

“Fifth Dimension” acts as the bridge of the album in many ways. Not only is it a strict instrumental piece, it too does not vary much in the structure of the song. Although, the song does have a slight roller-coaster feel to it. as the beginning starts slow with a piano note and fading sound, it builds gradually to a guitar solo that plays throughout. Meanwhile, “Non Carbon Life Form” is a blend of keyboard synthesizer and brief spoken-word curiosity of the appearance of a certain specimen, as the guitar glides on through.

“The Men in Black” shifts back to Nakoma Z. She eerily sings of how someone stumbles across what they are not supposed to know. Now, ‘the men in black’ must take care of the individual if he or she should speak a word of what they’ve seen. But, the light piano along the track is slightly misleading distracting from the tone of how she is ordering the person to be assured not to speak or risk serious consequences of the ‘men in black’.

“Atomic Eight” is a twist in the album that still alludes to the spacetime theme of the record, with ever-so-slight feedback vocals, but, there is a harmonious blend too between the progressive-rock sound of the guitar and a jazz-like feel to the track as well. It is a soothing instrumental piece that calms the listener’s mind. “First Contact” is based on the amazing energy of the ‘first contact’ with a supposed alien and then that said ‘alien’ starts explaining the reasons behind her extreme exhilaration of those feelings. All this while the start and finish of the song’s sound, sounds much like a slot machine reel at each end of this rock n’ roll record.

The finale piece, “We Come in Peace,” is probably the most tongue-in-cheek and contradicting piece of the album. “We come in peace. We come to rule your world. Just get down on your knees.” So goes the line in the song, so is the assumption of what a higher intelligent life form might practice on us, should that kind of day ever rear its disturbing head. But, it also does speak to the ease, willingness, and gullibility of many persons in the modern world as well. We are often so easily influenced and convinced of what we are read, told, and ‘suggested’ to do at times; that it could very well be speaking to us in a contemporary light.

Out There offers a combination of action-packed, comic book imagery, along with surprise hints of pop-up styles inside the effects of progressive-rock. “Atomic Eight’s” sparks of jazz horns act almost a reprieve from the interstellar adventure the listener is sent on. “The Men in Black” meanwhile offer a theatrical pop perspective with notes of singer-songwriter/Americana vibes.


Key tracks: “Anyone out There,” “Fifth Dimension,” “Atomic Eight,” “The Men in Black.”

Gregg Keniston - MuzikMan.net Staff
February 22, 2021


Track Listing:

01. Anyone out There?
02. Face of the Unknown
03. Mysterious Light Being
04. Alone in the Universe
05. Fifth Dimension
06. Non Carbon Life Form
07. The Men in Black
08. Atomic Eight
09. First Contact
10. We Come in Peace


2/15/2021

Rock Review: Tim Morse-The Archaeology Project

Release Date: October 9, 2020

Label: 2020 Tim Morse 

Website

Typically, I see the word ‘compilation’ in music and I overlook every part of it, often because it signifies “Greatest Hits” or “Best Of.” And as a writer, I usually want more than just the hits of someone because the hidden gems are found outside of the singles. Plus, if you find a song apart from the singles, you don’t grow tired of it as quickly because it does not frequent the radio as promotional singles do. In this case, the compilation of The Archaeology Project by Tim Morse is excellent in presenting a timeline of his work.

With no definitive reason for releasing this record, Morse says,” It seemed like a good time to reflect on the last fifteen years of being a recording artist.” Reflection can be a good way to spark that new creative edge. “Guitar Etude 1” roots from his very first song so, it seems fitting that the bit piece starts off the record. 


“Apocalyptic Visions” is a three-part song that is his longest piece to date. AV is a blend where the keyboard sounds much like an intergalactic travel scene, followed by what could sound like a take from a 90’s Alternative group like Good Charlotte blending with a speed-metal song cut, and ending with a mix of peaceful chime and keyboard but also going back to the powerhouse guitar playing. “Adrift” is a self-reflective journey piece that initially was just an instrumental work for the longest while.

“Rome” contains a Shakespearean-type of imagery that plays to the advantage of the artist and genre quite well. It is the epitome of an epic tale. “The sky is burning. Nero plays on….” Is the perfect symbolism for today’s pop culture/political chaos while giving a temporary historical lesson too. “Voyager,” according to Morse, was “inspired by the Berg and his book on the Lindbergh historic flight.” It is a mainly wondrous instrumental track that takes to new heights.

“Window” winds the first half of the record down with this soothing guitar piece that was thought of as a segue for his prior album Faithscience. The short track calms the listener’s ear down and prepares them, for more to come. “Afterword” keeps with the more melancholy tone but, not for the reasons you may think. Instead of saying goodbye to a love or a relationship of sorts, it’s the foundation for new beginnings moving forward and a reflection of events gone by.

“200 Yards” is a funny ‘crush-gone-wrong’ song that Morse says is the first-time-ever collaboration between him and Bret Bingham on Mangoes. The very tongue-in-cheek, watcher song, is a fun session Morse and Bingham created to simply make music. “My Ally” talks of a friendship that has lasted through the ages. I think it’s THE song I or anyone could connect with so deeply because, as an overly open and friendly person, to begin with, I love the multitude of reasons certain people come into your lives. Friendship is so much more than just a bond, it’s an experience like none other.

“Inertia” is a funky psychedelic feeling song that as the song plays out, causes an expansion of sorts. It crescendos into a musical spacetime continuum. “The Mary Celeste” speaks of the sudden loss all of us experience at one point or another. The hurt is so grand, and sometimes it is impossible to deal with moving forward, we remain still for a while, “lost at sea.”

“The Marquis” is the sign we all read in our own minds in one form or another. We over-analyze our certain actions to which we question if it could’ve been worked out differently, or if it was the correct plan of action in the first place. But the marquis is always hovering above our mind trying to intimidate us to keep on questioning ourselves. 

Originally done by Pink Floyd, “Dogs” was a long desired song to cover for Morse and by molding the song to his artistry, he molds it into more of a singer-songwriter style than its original predecessor. In finalizing the record, “The Corners” is a cleverly-placed track to end out The Archaeology Project. It is a beautifully orchestrated piece representing the excitement to see what lies beyond our lives here on earth.

Key Tracks: “My Ally,” “Rome,” “Dogs,” and “Afterword”

Gregg Keniston - MuzikMan.net Staff
February 14, 2021


Track Listing:
01. Guitar Etude 1 Dec. 1970
02. Apocalyptic Visions
03. Adrift
04. Rome
05. Voyager
06. Window
07. Afterword
08. 200 Yards
09. My Ally
10. Inertia
11. Mary Celeste
12. The Marquis
13. Dogs
14. The Corners


2/12/2021

Neo-Prog Review: Fish - Weltschmerz

Date: September 25, 2020

Label: Chocolate Frog Records (Self Released)

Website

The new, and final studio album from Fish (David Dick), is the superb Weltschmerz, which is album No 11 from the ex-lead singer of Marillion (1981-1988). The debut release of Vigil In A Wilderness of Mirrors was issued 30 years ago (1990) and we have now reached the end of the line.

The album is available as a 2CD, 2CD and Blu-Ray deluxe edition, a digital version and a 2-album vinyl version.


The band on Weltschmerz is Fish (Vocals), Steve Vantis (bass/keyboards and guitar), Robin Boult (guitar), John Mitchell (guitar), Craig Blundell (drums), Dave Stewart (drums), David Jackson (saxophones), Liam Holmes (keyboards), Foss Paterson (keyboards), Doris Brendel (vocals), Mikey Owers (brass) and the Scottish Chamber Orchestra (strings). Many of these musicians have been long term members of the Fish band and hence the band members are comfortable with what is required of them.

I have at this point to state that I preferred the Fish led Marillion rather than the post-Fish band, but I was never “blown away” by his solo material. There were some great tracks, but I tended to feel that the consistency of the music could be variable. That state of affairs however changed with the release of Feast Of Consequences, album No 10, which was a superb piece of work, especially the 5 part "High Woods Suite." I have looked forward to this final studio release from Fish for several months before the release.


The title, Weltschmerz, translates as world pain or world-weariness and may well sum up the feelings of the artist at the time, but the contents of this superb double album certainly are a long way from that downbeat title.
 
The Fish voice has been described as both distinct and also as a fusing of Roger Daltrey (The Who) and Peter Gabriel (Genesis), but it is his lyrics, classed as “poetic prose” that add an additional facet to the mans’ music. Fish can and does, interject spoken word lyrics into his music which seem to accentuate the storytelling aspect of his work.

Weltschmerz is a 10 track release with a total playing time of 84:30 minutes, track 5 “Rose Of Damascus” being the longest track at 15:45 minutes and track 4, “This Party’s Over” being the shortest at under 5 minutes (4:22).

The opening track, “Grace of God” (8:19), is exactly what I want to hear when listening to a new album, and that is something that immediately grabs the interest of the listener. There is a sparseness about the music behind the voice of Fish as he ventures into his storytelling, which is somehow very compelling. The lyrics paint such detailed scenarios that the listener becomes immersed in that storytelling.

The longest track, “Rose Of Damascus" (15:45) brings together the aspects that make the area in question such a volatile area to exist in, as seen through a young woman (Rose) who is trying to flee the war-torn area. In under 16 minutes, the listener is taken on a long journey through different sections with those superb lyrics tying everything together and trying to make sense of the problems that exist. The music twists and turns and holds the listener almost spellbound as the storyline unfolds.

Starting the second album is track 6, "Garden of Remembrance" (6:07) and is, for me, the most powerful, emotive track on Weltschmerz. Based on the changes in a relationship due to Alzheimer's, the lyrics are simple but literally oozing emotion as Fish relates the interaction, or rather, the lack of interaction between husband and wife. Musically there is a beautiful melody on piano behind his voice which underpins those lyrics, and latterly, a superb orchestral theme.

As a final studio album, Weltschmerz is an excellent way to bow out of further studio recording. Early in the review, I suggested that with the title translating as world-weariness, that could sum up how Fish must have felt with the personal situations that he had to confront during the recording process. Over the 5 years that Weltschmerz took to get to completion, he has touched on these moments throughout the ten superb, if very different, tracks and has produced a stunning swan song.

If you haven’t already purchased the album, I would humbly suggest that you give Weltschmerz a listen from start to finish and then part with some of your money to add the album to your collection.


Jim “The Ancient One” Lawson Prog Rock Music Staff 

February 9, 2021

Tracks:

CD 1:  
1. Grace Of God (8:19)
            2. Man With A Stick (6:27)
            3. Walking On Eggshells (7:18)
            4. This Party’s Over (4:22)
            5. Rose Of Damascus (15:45)


CD 2:   
  1. Garden Of Remembrance (6:07)
             2. C Song (The Trondheim Waltz) (4:41)
             3. Little Man What Now? (10:54)
             4. Waverley Steps (End Of The Line) (13:45)
             5. Weltschmerz (6:51)


2/11/2021

Blues Review: Robin Trower, Livingstone Brown, & Maxi Priest-United State of Mind

Release Date: October 9, 2020

Label: 2020 Manhaton Records  

Website

The ultimate trio – Robin Trower, Maxi Priest, and Livingstone Brown, teams up to bring forth United State of Mind. The album projects a blend of Reggae and Blues that emboldens the title of the record as “United.” Having worked with Maxi Priest and Robin Trower both on an individual basis, Livingstone Brown finally brought the trio together to create this 9-track masterpiece. Browne provided the studio space and engineering skills, as well as some of the instrumentation. Meanwhile, Maxi Priest lent his vocals as Trower plays through with his sleek, smooth stylings.

The album begins with the title track, “United State of Mind,” which separates itself from much of the rest of the record. The premier track, maintains a more upbeat, faster sound, with melodramatic lyrics whereas the rest of the tracks, apart from “On Fire Like Zsa Zsa,” carry the opposite effect. The sound and tempo are distinguishingly slower and more relaxed, while the lyrics often offer an introspective feel and message or a positive outlook. Regardless of the concept surrounding each track, it is far from your typical Blues record. The fusion of two genres appeals to the typical Blues connoisseur’s yearning for a new and different sound.

“Are We Just People” is the most thought-provoking piece of the album. It asks the age-old questions we as humans often wonder but, we cannot begin to comprehend what the answers could honestly entail. “Should we just keep pushing? I’m thinking I should take some time…begs the continuum question, how far, is too far? And what is it, that we ultimately want to uncover? On the flipside, “ Hand to the Sky” lights up United State of Mind as it speaks of rejuvenation, rebirth; and lifting the spirit of the audience.

The continuation of newness and rebirth continues on “Good Day.” And you might think to yourself…”I thought this was ‘Blues’?” Well, yes it is, however, Blues can also paint pictures and tell stories rather than just concentrate on the negative and sadness of a life or situation. This song, expresses just how much 24 hours can change a man and his mindset. Following up, “On Fire Like Zsa Zsa” is a cool track with a wicked game to play. This woman ‘Zsa Zsa’ will wrap you up in her clutches if you don’t know how to play her game to your advantage.

We come back down from our feel-good, jam tracks, to discover “Bring It All Back to You.” This piece yearns to make things right with a former lover and even the attempt to talk things out seems to slip the singer up. Combine the struggling lyricism with the emphasis on Trower’s gliding staccato-like guitar structure, you get a soothing but heart-aching composition. “Walking Wounded” follows suit in its painful emotion. If the title wasn’t enough to show you, how quickly on a dime, emotions can flip. Sit and listen to how he comes to an understanding that some situations just cannot be fixed.

On the final two tracks, “Sunrise Revolution” is all about being on this quest for answers and truth. And the singer’s answer is in-fact a ‘sunrise revolution’, to shine a light on deceit and the right and clear intentions of so many in our lives; both of powerful and common-man. Then, rounding out the album, “Where Our Love Came From,” is a short mission to get back to a place of stability and order from the singer’s point-of-view in a relationship of his. Whether it is past or present is unclear, but the track does well in not saying too much and leading out with a cool, tender guitar solo that gradually decrescendos in the listener’s ear.


Key Tracks include: “Are We Just People,” “Good Day,” “On Fire Like Zsa Zsa” and “United State of Mind.”

Gregg Keniston - MuzikMan.net Staff
February 5, 2021
 

Track Listing:

01. United State of Mind
02. Are We Just People
03. Hand to the Sky
04. Good Day
05. On Fire Like Zsa Zsa
06. Bring it All Back to You
07. Walking Wounded
08. Sunrise Revolution
09. Where Our Love Came From

 

2/03/2021

Rock Review: Albert Bouchard- Re Imaginos

Release Date: November 6, 2020

Label: 2020 RockHeart Records / Deko

Website


Get ready for an adventure of a lifetime. Frontman Albert Bouchard for the legendary rock band Blue Oyster Cult returns to the spotlight on his own to share a record of his solo ventures. Re Imaginos puts to work an element of the band combined with original soothing guitar riffs and piano melodies that provide a unique twist on the Blue Oyster Cult sound but, allow Bouchard to shine on his own. This comes as Albert and his brother Joe Bouchard, release the record through his new imprint label, RockHeart Records / Deko Entertainment. The album is Albert’s reimagining of the 1988 Blue Öyster Cult release, Imaginos, which was originally intended as Albert’s solo album.

Re Imaginos starts with the alluring and outright obvious signaling of “I Am the One You Warned Me Of.” The song’s initial lead-in gets the listener in a head-bobbing, rhythmic good mood. That is, even if the song is hinting that the person is hinting at a hidden agenda or personality that was previously unsuspected. “Del Rio Song” is the main song that harkens back to the former Blue Oyster Cult classic sound. The song mirrors the sound of the classic “Burning for You,” sending the listener into a frenzy of nostalgia and enjoyment of the cool, smoothness of the track overall.

We venture into more melodramatic territory on “In the Presence of Another World.” The song avails to the strong piano-structured intro, into a powerful but constant guitar pattern that is borderline repetitious as it moves forward. While the sound is calming and enjoyable, it does begin to seem prolonged and invariable, once the mid-point second verse concludes. Venturing forward, track four, is a curious track that gives off a storybook, fable-themed sound. From the title of the track to the frequent religious references, it acts as a wonderful mystical piece for the listener to get lost within.

The wild-wild-west comes through upon “Girl That Love Made Blind.” As Bouchard recounts of a far-off, distant memory of Christmas, the girl is the center of the holiday season where he danced his heart away that night. As this soft, light song plays out, the reminiscence of him longing for that same companionship further on. The following number, “Astronomy,” makes the midpoint of the record and a re-recording of Blue Oyster Cult’s single on the Secret Treaties album. It is an illustrative tale of the wonders of space mixed with a wish of one last venture with this girl Susie who is on her way to starting her life on her own, married and complete.

The title track “Imaginos” is a continuation of Bouchard’s mysticism. The themes of ever changing life and decay, as well as, nomadic-like movement are are ways of imagining the touch-and-go-sense of nature and the human world. “Gil Blanco County,” tells of this wondrous place that nature is vast and there is a sense of openness that the typical city-life does not contain. “Blue Oyster Cult” is a funky jam tune to pay homage to the group that made Bouchard the musical phenomenon he is today. “The Oyster boys are swimming now,” make it sound as though there is this revival in the work of sorts, of which listeners can interpret to their pleasure. This is followed by a powerful guitar riff which blasts the song and audience into a midpoint rock n’ roll frenzy.

Closing out the album, “Black Telescope” is a grand wordplay trickery song. As though a sailor is making up a voyager’s song, it tells of the many ways and types of visions differing creatures may take up the sight of their world around them. “Magna of Illusion” is a tale of what could be an event in a time of victorian-era happenings. Whether it be of travel and discovery, or a battle to come, the tune ends with revealing that not all is what it seems; leaving the listener in awe. Finally, “Les Invisibles” is a medieval song that sings of a setup and celebration is put on in this particular story that looks as though, the death of an individual is celebrated.

Key Tracks: “I Am the One You Warned Me Of,” “Girl That Love Made Blind,” “Blue Oyster Cult,” “Black Telescope”


Gregg Keniston - MuzikMan.net Staff
January 28, 2021

 

Track Listing:
01. I Am the One You Warned Me Of
02. Del Rio Song
03. In the Presence of Another World
04. Siege and Investiture of Baron Von Frankenstein’s Castle at Weisseria
05. Girl That Love Blind
06. Astronomy
07. Imaginos
08. Gil Blanco County
09. Blue Oyster Cult
10. Black Telescope
11. Magna of Illusion
12. Les Invisibles

1/26/2021

Contemporary Instrumental (Solo Piano) - Paz Del Castillo-TRES best of…

Release Date: March 21, 2020

Label: Noise of Dreams

Website

Paz Del Castillo is a pianist that records solo instrumental contemporary new age music. Essentially it is a contemporary instrumental collection however it so relaxing and beautiful that a listener can use it for meditation as well. Once you start listening you will understand why.


Her most recent release is titled TRES best of… which consists of thirteen tracks of her solo piano work. What I discovered while listening was how full-bodied and rhythmic each track was. The consistent flow of each track is a strong representation of solo piano work and how authoritative and effective that one instrument can be with the right hands, turning music into magic.
This is excellent solo piano music with three new tracks included.


One of the best examples of that strength is “Cuevas Del Mar” which translates to “my beach-at the north coast-in Asturias.” The track is full of anticipation, excitement, and above all, catchy rhythms that hold your interest from start to finish. That is but one example, and within every track, some or all of those elements will arise to grab your attention.

Paz creates her music working from the solid ground of classical then transforming the compositions to forge ahead and translate to contemporary instrumental which then crosses over to the sub-genre of new age. I hold firm my belief that most of this type of music blossoms from the classic world of instrumentation. It is not hard to recognize if you listen to this type of music all the time.

Besides this compilation Paz Del Castillo makes a triumphant return to her recording career with the newly released single "I Fight." The word fight can have strong implications both negative and positive, my feeling and thoughts after listening, is that the message was very positive and the music says that loud and clear.

The album closes out with “Lo Quo Se De MI CD-S4QT,” translated it means “What I know about myself,” which serves as an introspective track.

TRES best of…  will deliver the message the artist is conveying and allow each listener to attain a level of peace and relaxation, or meditation if needed. This is music that has many uses and I think it could easily serve as soundtrack music for video and or films. The fact that there are no words gives it a distinct advantage over music with lyrics to think about.

Keith “MuzikMan” Hannaleck-MuzikMan.net Founder
January 24, 2021

Tracks:

01. Bolinas (“Moods for Piano”) 02.42 ( A little village at San Francisco California, where I recorded my 1st Album
02. Latiendo (“Eleven Drops”) 04.48 (a heart beat-that keeps beating after difficulties)
03. El abrazo del mar (“Eleven Drops”) 04.07 (the embrace of the sea)
04. Improvisación sobre las aguas tranquilas (“Eleven Drops”) 04.29 Improvisation about calm river)
05. Sobre el Cabo de Mar ( “Now” ) 2.40 (About a beautiful Cape over the cliffs in the north coast of Spain)
06. Unchain me ( “Now” )  04.16
07. Cuevas del Mar (“Moods for Piano”) 04.14 ( my beach-At the north coast-In Asturias)
08. Mother ( “Now” ) 06.05 (for my mother, my essence)
09 Tom ( “Now” ) 03.14
10. Hymn ( “Now” ) 04.28
11. Erase una vez una doncella…. (new) 03.17 (once upon a Maiden, about a medieval history)
12 Vals for the Good people 03.13
13. Lo que se de mí ( new) 06.36 ( What I know about myself, and introspective track)


1/24/2021

Crossover Prog Review: Lunatic Soul-Through Shaded Woods (Deluxe Edition)

Release Date: November 13 2020

Label: Kscope

Website

Lunatic Soul was founded in 2008 in Warsaw, Poland, and to date, has released 7 studio albums, from the debut, Lunatic Soul in 2008 up to the album under review here, Through Shaded Woods earlier this year. Lunatic Soul is the creative vehicle for Marius Duda, the vocalist, and bassist for the Polish band, Riverside.


Through Shaded Woods is available as a single CD, a 2CD deluxe edition, as well as in vinyl and digital versions. The review is based on the deluxe version of the release.

Through Shaded Woods (Deluxe Edition) has 8 tracks and a total running time of just over 72 minutes (72:27) with the final track, “Transition II,” the longest at 27:45 minutes and the penultimate track, “Hylophobia” the shortest at just over 3 minutes (3:20).


Although being aware of both Riverside and Lunatic Soul and having featured tracks from Riverside on my radio show, I had never managed to “get into” Lunatic Soul releases, and I approached the review of Through Shaded Woods with no real expectations.

Regular readers of my reviews will be aware that I put a great deal of value on the opening track of releases, and am always looking for a hook, an amazing riff, basically something that “grabs your ears and shouts, Listen.”. Enter track 1 of this album, “Navvie” (4:03) and we find exactly what I am looking for. Obviously, folk-based and immersed in the more Nordic/Scandinavian folk arena, "Navvie” has a repetitive riff that becomes almost shamanic and in just over 4 minutes has succeeded in drawing the listener into a stunning mesmeric aural landscape.

Track 6, "The Fountain" (6:04), starts with a simple acoustic guitar, then Marius’s clear vocals take the track on and a piano appears in the background before moving to center stage. This is a beautiful, melodic track that flows along, carrying the listener along with it. As the song progresses there is the addition of some amazingly symphonic orchestration. Around the 4:40 minute point, there is a change to leave the piano theme to carry the track to its finale. This is another superb track from a stunning album.

The final track, “Transitions II” (27:45) is a real epic in terms of length and is a simply wonderful working and reworking of riffs and themes, reminiscent of Mike Oldfield. The original “Transitions” appears on Lunatic Soul II and initially, the opening of "Transitions II" harks back to this 2010 release. The additional instrumentation starts to suggest a change of direction and indeed, around the 4-minute mark, the “fuzzy” guitar starts the track moving into the realms of the aforementioned Mike Oldfield. For several minutes this style is maintained before moving into the sphere of New Age music, carrying the listener along with a minimalist soundscape style. The music is melodic, gentle, and intensely relaxing, before another change in style and direction nudging the 18-minute point when the piano takes on more responsibility and the other instrumentation washes in and out again, continuing the painting of an aural soundscape of gentleness, but different to that which had gone before. The track almost stops around the 21-minute mark and a very different picture comes into focus. The breathy vocals, or to be more correct, vocalizations, from Marius, float over an acoustic guitar theme and there is again a return to the folk area prevalent in “Navvie." This carries on until around 24:30 minutes when an ethereal choral section seems to appear, with an acoustic guitar theme in the background before the final section which harks back in time to a Gregorian chant before slowly fading away.

Through Shaded Woods is a superb release and well worth checking out. As I suggested early in this review, despite being aware of Lunatic Soul, I was not “into” the solo work of Marius. This album has changed my mind and I will now be revisiting the previous releases with more interest. Through Shaded Woods demands a place in many peoples’ CD collections, so grab a listen and see what you think

Jim “The Ancient One “ Lawson Prog Rock Music Talk Staff
January 22, 2021
 

Tracks:

1. Navvie (4:03)
2. The Passage (8:57)
3. Through Shaded Woods (5:51)
4 Oblivion (5:03)
5 Summoning Dance (9:52)
6. The Fountain (6:04)
7. Vyraj (5:32)
8. Hylophobia (3:20)
9. Transition II (27:45)

 

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