Showing posts with label Prog Rock Music Talk. Show all posts
Showing posts with label Prog Rock Music Talk. Show all posts

6/13/2021

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: 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)

4/28/2021

Crossover Prog Review: Downes Braide Association-Halcyon Hymns

Release Date: Feb 5 (Dig), Feb 12 (CD/DVD) and April 2 (Vinyl) All 2021

Label: DBA Records

Website

The Downes Braide Association is a studio-based project by Geoff Downes (keyboards) and Chris Braide (singer/songwriter), both of whom have a rich musical heritage.

Geoff has been a member of The Buggles, Yes and Asia, while Chris has written and produced music for film scores, advertising campaigns and worked with Lana Del Ray, Beyonce, Paloma Faith, David Guetta and co-wrote the music for Seven Worlds One Planet (A David Attenborough BBC TV series) together with Hans Zimmer and Sia.

The debut album from the Downes Braide Association was issued in 2012 and titled Pictures of You, followed 3 years later by Suburban Ghosts and then in 2017 by album No 3, Skyscraper Souls. A live album from the band was also issued in 2019, DBA Live In England.

Under review is the fourth, and latest, album from Downes Braid Association, entitled Halcyon Hymns. This is a 12 track album with a total playing time of around 64 minutes (63:37), with tracks 11 (Remembrance), and 10 (Late Summer) being the longest at 11:44 minutes and the shortest at 2:24 minutes respectively.

The opening track, “Love Among The Ruins” (6:24) starts with a short spoken section before a gentle acoustic before the vocals of Chris Braide appear. The guitar of guest musician, Dave Bainbridge (Iona/Strawbs) soon soars over the track and adds an interesting dimension, as the track repeats the previous themes leading to another guitar section. A pleasant enough entry into the album, but not one that made this listener too optimistic about what was to come, and my overall impression was that the opening track overstayed its welcome and detracted from the effect “Love Among The Ruins” had.

Track No 2, “King Of The Sunset” (6:37) features additional vocals by David Longdon (Big Big Train) and more superb guitar work from Dave Bainbridge. This track is a definite grower and initially boosted my interest after the opener. The sound drops away around two minutes from the end of the track to leave an instrumental fade out featuring mandolin and guitar which was a bit unexpected. The thought that floated across my mind was that the ending section was not necessary.

As you progress through the tracks, there are some excellent passages, melodies that penetrate deep into your mind and will not go away, stunning vocals and guitar playing, and as the long track (second last on the album) approached, I was beginning to look forward to what the band could do on a 10 minute plus excursion.

The long track, “Remembrance” (11:44) starts off with piano, some spoken word By Barney Ashton Bullock before the acoustic backing starts to build courtesy of the mandolin. Excellent lyrics carry the track along and the listener eases into the journey that is unfolding. The narrative short interludes work very well but there seemed to be a fair repetition of some lyrics which, to my mind interrupted the journey. By the halfway point, the track was beginning to pull the listener back but the disappointment was that the track then seemed to retread the music that had already gone and appeared to lose its way. I think that this was another example of a track running out of ideas.

Halcyon Hymns
has its moments, but the band seem unable to maintain those high points or to use them as jumping-off points. While I was not blown away by Halcyon Hymns, that is my personal opinion, and I would suggest, as always, that you should give this album a listen and see what you think. I will go check out the earlier albums and perhaps find the spark I seemed to miss from album No 4.


Jim “The Ancient One” Lawson – Prog Rock Music Talk Staff
April 21, 2021
 

Tracks:
01. Love Among The Ruins (6:24)
02. King Of The Sunset (6:37)
03. Your Heart Will Find The Way (5:20)
04. Holding The Heavens (7:54)
05. Beachcombers (3:31)
06. Warm Summer Sun (4:43)
07. Today (6:59)
08. Hymn to Darkness (2:59
09. She’ll Be Riding Horses (4:35)
10. Late Summer (2:24)
11. Remembrance (11:44)
12. Epilogue (0:36)

 

Crossover Prog Review: Downes Braide Association-Halcyon Hymns

Release Date: Feb 5 (Dig), Feb 12 (CD/DVD) and April 2 (Vinyl) All 2021

Label: DBA Records

Website

The Downes Braide Association is a studio-based project by Geoff Downes (keyboards) and Chris Braide (singer/songwriter), both of whom have a rich musical heritage.

Geoff has been a member of The Buggles, Yes and Asia, while Chris has written and produced music for film scores, advertising campaigns and worked with Lana Del Ray, Beyonce, Paloma Faith, David Guetta and co-wrote the music for Seven Worlds One Planet (A David Attenborough BBC TV series) together with Hans Zimmer and Sia.

The debut album from the Downes Braide Association was issued in 2012 and titled Pictures of You, followed 3 years later by Suburban Ghosts and then in 2017 by album No 3, Skyscraper Souls. A live album from the band was also issued in 2019, DBA Live In England.

Under review is the fourth, and latest, album from Downes Braid Association, entitled Halcyon Hymns. This is a 12 track album with a total playing time of around 64 minutes (63:37), with tracks 11 (Remembrance), and 10 (Late Summer) being the longest at 11:44 minutes and the shortest at 2:24 minutes respectively.

The opening track, “Love Among The Ruins” (6:24) starts with a short spoken section before a gentle acoustic before the vocals of Chris Braide appear. The guitar of guest musician, Dave Bainbridge (Iona/Strawbs) soon soars over the track and adds an interesting dimension, as the track repeats the previous themes leading to another guitar section. A pleasant enough entry into the album, but not one that made this listener too optimistic about what was to come, and my overall impression was that the opening track overstayed its welcome and detracted from the effect “Love Among The Ruins” had.

Track No 2, “King Of The Sunset” (6:37) features additional vocals by David Longdon (Big Big Train) and more superb guitar work from Dave Bainbridge. This track is a definite grower and initially boosted my interest after the opener. The sound drops away around two minutes from the end of the track to leave an instrumental fade out featuring mandolin and guitar which was a bit unexpected. The thought that floated across my mind was that the ending section was not necessary.

As you progress through the tracks, there are some excellent passages, melodies that penetrate deep into your mind and will not go away, stunning vocals and guitar playing, and as the long track (second last on the album) approached, I was beginning to look forward to what the band could do on a 10 minute plus excursion.

The long track, “Remembrance” (11:44) starts off with piano, some spoken word By Barney Ashton Bullock before the acoustic backing starts to build courtesy of the mandolin. Excellent lyrics carry the track along and the listener eases into the journey that is unfolding. The narrative short interludes work very well but there seemed to be a fair repetition of some lyrics which, to my mind interrupted the journey. By the halfway point, the track was beginning to pull the listener back but the disappointment was that the track then seemed to retread the music that had already gone and appeared to lose its way. I think that this was another example of a track running out of ideas.

Halcyon Hymns
has its moments, but the band seem unable to maintain those high points or to use them as jumping-off points. While I was not blown away by Halcyon Hymns, that is my personal opinion, and I would suggest, as always, that you should give this album a listen and see what you think. I will go check out the earlier albums and perhaps find the spark I seemed to miss from album No 4.


Jim “The Ancient One” Lawson – Prog Rock Music Talk Staff
April 21, 2021
 

Tracks:
01. Love Among The Ruins (6:24)
02. King Of The Sunset (6:37)
03. Your Heart Will Find The Way (5:20)
04. Holding The Heavens (7:54)
05. Beachcombers (3:31)
06. Warm Summer Sun (4:43)
07. Today (6:59)
08. Hymn to Darkness (2:59
09. She’ll Be Riding Horses (4:35)
10. Late Summer (2:24)
11. Remembrance (11:44)
12. Epilogue (0:36)

 

4/25/2021

Prog Rock Review: Jethro Tull-A-La Mode 40th Anniversary Set (3 CD-3 DVD-Book Set)

Release Date: April 16, 2021

Label: Rhino/Parlophone

Website


As Steven Wilson makes his way through the bountiful Jethro Tull catalog, fans get an opportunity to relive all of that great music. There are reissues and anniversary releases of many recordings available but there is a difference with these fine book editions that Jethro Tull has provided over the years. I have been the fortunate recipient of many. 


A is not one of my favorite albums although I now have an entirely different view of the recording thanks to this A-La Mode 40th Anniversary Set 3 CD-3 DVD-Book Set. What was meant to be an Ian Anderson solo album turned into a full-blown JT album and an on-stage production and video of “Slipstream.” Also included is live concert footage in between the storyline with Ian trying to escape large pink balloons and posing as a vampire in the “Sweet Dream” video and thereby chasing himself posing as that despicable Aqualung.

Wilson is a true wizard when he works with the remastering of the catalog of JT. This is, as all the others are, all-inclusive and in-depth exploring the music at different angles, and the end products all differ. Each production offers a look into aspects of the music you have never heard before. That is the entire idea with these sets and hopefully giving the long-time faithful more appreciation for the music now. In the case of A, which was underrated at the time, it most certainly accomplishes that in more ways than one would expect. Interestingly enough, the band considers the album in their top third of releases. Perhaps now so will some fans. I still a have list of my top picks and this one still is not at the top of my list even after rediscovering it with different ears. Although I did appreciate the experience and reading the entire book, which was extremely informative, and hearing the music live and remastered was refreshing.

If you are a Jethro Tull fan, there is a lot to take in with this set and it will take some time. It is time well spent I believe. If you are an average fan, you would not consider releases such as this anyway. If you love your progressive rock and are interested in hearing one of the true innovators of the genre, then, of course, any of these massive reissues is a must. That is how I perceive it, but then again, I have been loving JT since the first time I heard Aqualung and I nearly wore out War Child as a teenager in discovery mode.

The treat here is after all these years, regardless of how long you have been following the band, there is always something new to discover. It’s like a basket of Easter eggs long before the day arrives, you cannot resist looking to see what is inside. And that is what makes it worth every penny and all of the time spent soaking it all up.


Keith “MuzikMan” Hannaleck-MuzikMan.net Founder

April 22, 2021

 Disc One: Original Album and Associated Tracks
(Steven Wilson Stereo Remix)
1. “Crossfire”
2. “Fylingdale Flyer”
3. “Working John, Working Joe”
4. “Black Sunday”
5. “Protect And Survive”
6. “Batteries Not Included”
7. “Uniform”
8. “4.W.D. (Low Ratio)”
9. “The Pine Marten’s Jig”
10. “And Further On”
Associated Tracks
11. “Crossfire” (Extended Version)
12. “Working John, Working Joe” (Take 4)
13. “Cheerio” (Early Version)
14. “Coruisk”
15. “Slipstream Intro”

Disc Two: Live at the LA Sports Arena 1980 (Part 1)

(Steven Wilson Stereo Remix)
1. “Slipstream Intro”
2. “Black Sunday”
3. “Crossfire”
4. “Songs From The Wood”
5. “Hunting Girl”
6. “The Pine Marten’s Jig”
7. “Working John, Working Joe”
8. “Heavy Horses”
9. Band Instrumental Intro
10. “Skating Away On The Thin Ice Of The New Day”
11. “Instrumental” (including flute solo)

Disc Three: Live at the LA Sports Arena 1980 (Part 2)

(Steven Wilson Stereo Remix)
1. Trio Instrumental
2. Keyboard solo
3. “Batteries Not Included”
4. “Uniform” (including drum solo instrumental)
5. “Protect and Survive” (including violin solo)
6. “Bungle In The Jungle”
7. Guitar Solo/Bass solo intro to encore
8. “Aqualung”
9. “Locomotive Breath”/Instrumental/”Black Sunday” (reprise)

DVD One: Original Album and Associated Tracks

(Audio Only)
Contains Steven Wilson’s 2020 remix of the album and 5 associated tracks in DTS and Dolby AC 3, 5.1 surround, and stereo 96/24 LPCM. Flat transfers of the original LP master in 96/24 LPCM

DVD Two: Live At The LA Sports Arena November 1980

(Audio Only)
Contains Steven Wilson’s 2020 mix of the concert in DTS and Dolby AC 3, 5.1 surround and stereo 96/24 LPCM
 
DVD Three: Slipstream Video
(Video)
With audio tracks remixed by Steven Wilson in DTS and Dolby AC 3, 5.1 surround and stereo 96/24 LPCM

Prog Rock Review: Jethro Tull-A-La Mode 40th Anniversary Set (3 CD-3 DVD-Book Set)

Release Date: April 16, 2021

Label: Rhino/Parlophone

Website


As Steven Wilson makes his way through the bountiful Jethro Tull catalog, fans get an opportunity to relive all of that great music. There are reissues and anniversary releases of many recordings available but there is a difference with these fine book editions that Jethro Tull has provided over the years. I have been the fortunate recipient of many. 


A is not one of my favorite albums although I now have an entirely different view of the recording thanks to this A-La Mode 40th Anniversary Set 3 CD-3 DVD-Book Set. What was meant to be an Ian Anderson solo album turned into a full-blown JT album and an on-stage production and video of “Slipstream.” Also included is live concert footage in between the storyline with Ian trying to escape large pink balloons and posing as a vampire in the “Sweet Dream” video and thereby chasing himself posing as that despicable Aqualung.

Wilson is a true wizard when he works with the remastering of the catalog of JT. This is, as all the others are, all-inclusive and in-depth exploring the music at different angles, and the end products all differ. Each production offers a look into aspects of the music you have never heard before. That is the entire idea with these sets and hopefully giving the long-time faithful more appreciation for the music now. In the case of A, which was underrated at the time, it most certainly accomplishes that in more ways than one would expect. Interestingly enough, the band considers the album in their top third of releases. Perhaps now so will some fans. I still a have list of my top picks and this one still is not at the top of my list even after rediscovering it with different ears. Although I did appreciate the experience and reading the entire book, which was extremely informative, and hearing the music live and remastered was refreshing.

If you are a Jethro Tull fan, there is a lot to take in with this set and it will take some time. It is time well spent I believe. If you are an average fan, you would not consider releases such as this anyway. If you love your progressive rock and are interested in hearing one of the true innovators of the genre, then, of course, any of these massive reissues is a must. That is how I perceive it, but then again, I have been loving JT since the first time I heard Aqualung and I nearly wore out War Child as a teenager in discovery mode.

The treat here is after all these years, regardless of how long you have been following the band, there is always something new to discover. It’s like a basket of Easter eggs long before the day arrives, you cannot resist looking to see what is inside. And that is what makes it worth every penny and all of the time spent soaking it all up.


Keith “MuzikMan” Hannaleck-MuzikMan.net Founder

April 22, 2021

 Disc One: Original Album and Associated Tracks
(Steven Wilson Stereo Remix)
1. “Crossfire”
2. “Fylingdale Flyer”
3. “Working John, Working Joe”
4. “Black Sunday”
5. “Protect And Survive”
6. “Batteries Not Included”
7. “Uniform”
8. “4.W.D. (Low Ratio)”
9. “The Pine Marten’s Jig”
10. “And Further On”
Associated Tracks
11. “Crossfire” (Extended Version)
12. “Working John, Working Joe” (Take 4)
13. “Cheerio” (Early Version)
14. “Coruisk”
15. “Slipstream Intro”

Disc Two: Live at the LA Sports Arena 1980 (Part 1)

(Steven Wilson Stereo Remix)
1. “Slipstream Intro”
2. “Black Sunday”
3. “Crossfire”
4. “Songs From The Wood”
5. “Hunting Girl”
6. “The Pine Marten’s Jig”
7. “Working John, Working Joe”
8. “Heavy Horses”
9. Band Instrumental Intro
10. “Skating Away On The Thin Ice Of The New Day”
11. “Instrumental” (including flute solo)

Disc Three: Live at the LA Sports Arena 1980 (Part 2)

(Steven Wilson Stereo Remix)
1. Trio Instrumental
2. Keyboard solo
3. “Batteries Not Included”
4. “Uniform” (including drum solo instrumental)
5. “Protect and Survive” (including violin solo)
6. “Bungle In The Jungle”
7. Guitar Solo/Bass solo intro to encore
8. “Aqualung”
9. “Locomotive Breath”/Instrumental/”Black Sunday” (reprise)

DVD One: Original Album and Associated Tracks

(Audio Only)
Contains Steven Wilson’s 2020 remix of the album and 5 associated tracks in DTS and Dolby AC 3, 5.1 surround, and stereo 96/24 LPCM. Flat transfers of the original LP master in 96/24 LPCM

DVD Two: Live At The LA Sports Arena November 1980

(Audio Only)
Contains Steven Wilson’s 2020 mix of the concert in DTS and Dolby AC 3, 5.1 surround and stereo 96/24 LPCM
 
DVD Three: Slipstream Video
(Video)
With audio tracks remixed by Steven Wilson in DTS and Dolby AC 3, 5.1 surround and stereo 96/24 LPCM

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
 

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
 

3/04/2021

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)


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)


2/12/2021

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)


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)