Contemporary Progressive Rock Review: Sebas Honing-The Big Shift

Release Date: 24^th January 2016

Label: Freia Music

Website

Sebas Honing is a multi-instrumentalist who hails from The Netherlands. Sebas is also a composer and producer, as well as being known for his guitar work in Equisa (prog metal) and 5150, a Van Halen tribute band. Together with his partner, Petra, he also fronts the acoustic duo, Mr. and Mrs. Honey. With all this going on, it makes you wonder where he finds the time to release solo material, with his latest offering being The Big Shift.

This release follows on from Songs of Oceans and Seas, a concept album relating to water, and From Middle to East, another concept album tracing a journey from Turkey, through India and on to Indonesia. The former follows a musical journey through rock/pop to prog rock/metal with the latter combining prog rock/metal with traditional music from the countries the journey passed through.

The band formed to record The Big Shift, also led to the formation of a live band which will have debuted on the 24^th of January this year. The four people involved in the recording of The Big Shift were, Sebas (vocals, guitar, bass and keyboards), Petra Honing (lead and backing vocals), Christiaan Bruin (drums and backing vocals) and Tessa Struijs (backing vocals). Christiaan Bruin is also a member of Sky Architect and Nine Stones Close, whilst also releasing solo albums under the name of Chris.

The Big Shift is again a concept album, of sorts, but with a more personal link and relates to change that occurs at various points, such as leaving home, getting rid of fears and the birth of his daughter. The Big Shift is a 15 track album with a playing time of around 62 minutes. Tracks 1 and 15, “Big Shift” and “Lost,” form the shortest and longest tracks on offer, with the former clocking in at 1:12 minutes and the latter running just short of 6 minutes (5:48).

The opening, and title, track, “Big Shift” (1:12) is an atmospheric 25 seconds before the chunky power chords erupt. Some very tasty guitar then takes the track out and into “Life (part I)” (5:13) which is a totally different “kettle of fish.” Subtle strummed guitar leads into an almost faltering, fragile vocal from Sebas, and then the track opens up when Petra’s vocals join in. The track is more band orientated from this point as the music slowly builds and there are some chunky chords before the guitar gets a chance to “run free” with some excellent soaring themes.

These opening two tracks highlight the more melodic, almost pop styled areas of the music as well as the more metallic sections and it makes you eager to hear the rest of the album.

Tracks 3 and 4, “Ditching Fear” (4:15) and “Mercury Retrograde” (4:00) continue this light/dark atmosphere before “OMG” (3:34) blasts out of the speakers as a riff-laden thumper of a track together with a more strained version of vocals. 

“All of You” (4:06) quiets things down by several notches and “Freedom” (4:47) is a slow building track, neither being reliant with the more metallic side of Sebas. “Mild Smile” (4:48) is another of the gentler examples from Sebas although the latter part of the track ramps up the soaring guitar melodies again. “Full 180” (3:04) is a rampaging, thundering track which drives out of the speakers and pummels your ears. 

Cue a total change with the next track, “Flickering Heart” (5:22) which demonstrates the ease with which Sebas can move from the light into the dark, both between, and within, tracks. The penultimate track, “Life (part II)” (4:52) is another thundering rocker before the finale, “Lost” (5:48) which is an atmospheric moody track with bursts of metal to accentuate the sections within the track.

The Big Shift is an excellent album which seems to have used the previous 2 releases as stepping stones to a new level. The Big Shift effortlessly fuses areas of lighter and darker moods across and within the 15 tracks. One moment you are listening to the gentler, laid back music, but Sebas has the ability to “up the ante” so quickly and seamlessly, that you realize you are listening to a musician who is very confident about what he is achieving.

I found The Big Shift an extremely enjoyable 60+ minute listen and would suggest giving the album a few plays. It is unlikely that you will feel any pangs of disappointment.

4.5/5 Stars 

Key Tracks: Life (Part I), All You Are, Lost

Tracks: 
01. Big Shift
02. Life (Part 1)
03. Ditching Fear
04. Mercury Retrograde
05. OMG
06. All You Are
07. Freedom
08. Mild Smile
09. Hometown
10. Full180
11. Flickering Heart
12. Homeless
13. Falling Down
14. Life (Part 2)
15. Lost
 

Jim “The Ancient One” Lawson-Sr. Reviewer Prog Rock Music Talk
March 21, 2016
Review Provided By Prog Rock Music Talk

Contemporary Progressive Rock Review: Sebas Honing-The Big Shift

Release Date: 24^thJanuary 2016

Label: Freia Music

Website

Sebas Honing is a multi-instrumentalist who hails from The Netherlands. Sebas is also a composer and producer, as well as being known for his guitar work in Equisa (prog metal) and 5150, a Van Halen tribute band. Together with his partner, Petra, he also fronts the acoustic duo, Mr. and Mrs. Honey. With all this going on, it makes you wonder where he finds the time to release solo material, with his latest offering being The Big Shift.

This release follows on from Songs of Oceans and Seas, a concept album relating to water, and From Middle to East, another concept album tracing a journey from Turkey, through India and on to Indonesia. The former follows a musical journey through rock/pop to prog rock/metal with the latter combining prog rock/metal with traditional music from the countries the journey passed through.

The band formed to record The Big Shift, also led to the formation of a live band which will have debuted on the 24^th of January this year. The four people involved in the recording of The Big Shift were, Sebas (vocals, guitar, bass and keyboards), Petra Honing (lead and backing vocals), Christiaan Bruin (drums and backing vocals) and Tessa Struijs (backing vocals). Christiaan Bruin is also a member of Sky Architect and Nine Stones Close, whilst also releasing solo albums under the name of Chris.

The Big Shift is again a concept album, of sorts, but with a more personal link and relates to change that occurs at various points, such as leaving home, getting rid of fears and the birth of his daughter. The Big Shift is a 15 track album with a playing time of around 62 minutes. Tracks 1 and 15, “Big Shift” and “Lost,” form the shortest and longest tracks on offer, with the former clocking in at 1:12 minutes and the latter running just short of 6 minutes (5:48).

The opening, and title, track, “Big Shift” (1:12) is an atmospheric 25 seconds before the chunky power chords erupt. Some very tasty guitar then takes the track out and into “Life (part I)” (5:13) which is a totally different “kettle of fish.” Subtle strummed guitar leads into an almost faltering, fragile vocal from Sebas, and then the track opens up when Petra’s vocals join in. The track is more band orientated from this point as the music slowly builds and there are some chunky chords before the guitar gets a chance to “run free” with some excellent soaring themes.

These opening two tracks highlight the more melodic, almost pop styled areas of the music as well as the more metallic sections and it makes you eager to hear the rest of the album.

Tracks 3 and 4, “Ditching Fear” (4:15) and “Mercury Retrograde” (4:00) continue this light/dark atmosphere before “OMG” (3:34) blasts out of the speakers as a riff-laden thumper of a track together with a more strained version of vocals. 

“All of You” (4:06) quiets things down by several notches and “Freedom” (4:47) is a slow building track, neither being reliant with the more metallic side of Sebas. “Mild Smile” (4:48) is another of the gentler examples from Sebas although the latter part of the track ramps up the soaring guitar melodies again. “Full 180” (3:04) is a rampaging, thundering track which drives out of the speakers and pummels your ears. 

Cue a total change with the next track, “Flickering Heart” (5:22) which demonstrates the ease with which Sebas can move from the light into the dark, both between, and within, tracks. The penultimate track, “Life (part II)” (4:52) is another thundering rocker before the finale, “Lost” (5:48) which is an atmospheric moody track with bursts of metal to accentuate the sections within the track.

The Big Shift is an excellent album which seems to have used the previous 2 releases as stepping stones to a new level. The Big Shift effortlessly fuses areas of lighter and darker moods across and within the 15 tracks. One moment you are listening to the gentler, laid back music, but Sebas has the ability to “up the ante” so quickly and seamlessly, that you realize you are listening to a musician who is very confident about what he is achieving.

I found The Big Shift an extremely enjoyable 60+ minute listen and would suggest giving the album a few plays. It is unlikely that you will feel any pangs of disappointment.

4.5/5 Stars 

Key Tracks: Life (Part I), All You Are, Lost

Tracks: 
01. Big Shift
02. Life (Part 1)
03. Ditching Fear
04. Mercury Retrograde
05. OMG
06. All You Are
07. Freedom
08. Mild Smile
09. Hometown
10. Full180
11. Flickering Heart
12. Homeless
13. Falling Down
14. Life (Part 2)
15. Lost
 

Jim “The Ancient One” Lawson-Sr. Reviewer Prog Rock Music Talk
March 21, 2016
Review Provided By Prog Rock Music Talk

Progressive Rock Review: Anathema-A Sort Of Homecoming

Release Date: 30th October 2015
Label: KScope
Website: www.anathema.ws

Anathema were formed back in 1990 in Liverpool (the home of the Beatles) and have released 11 studio albums starting with Serenades in 1993 and so far ending with Distant Satellites in 2014. They have also issued 2 live albums, the second of which is reviewed here. This release, A Sort Of Homecoming, was recorded live at the end of a short acoustic tour in Liverpool Anglican Cathedral on 7th March 2015. The band comprised Vincent Cavanagh (vocals, guitar, vocoder), Danny Cavanagh (guitar, keyboards, vocals), Jamie Cavanagh (bass), John Douglas (drums, keyboards) and Lee Douglas (vocals) with a couple of guests contributing to some sections of the concert, David Wesling (cello) and Anna Phoebe (violin). As well as being released as a double CD, the concert is also available as a DVD, Blu-ray and a triple vinyl album.

The CD contains 2 discs with a total of 15 tracks, 8 on disc 1 and 7 on disc 2. The package has a total playing time of around 102 minutes with disc 1 being the shorter of the two discs by around 2 minutes, disc 1 having a running time of 50:13 minutes and disc 2 clocking in at 52:07 minutes. The band take the songs from 6 of their albums with the emphasis on the newest 2 releases, Distant Satellites (5 tracks, 2014), Weather Systems (4, 2012), We’re Here Because We’re Here (2, 2010), A Natural Disaster (2, 2003), A Fine Day To Exit (1, 2001) and Alternative 4 (1, 1998).
The opening track on A Sort of Homecoming is “The Lost Song Part 2” (6:39) from Distant Satellites and, as this was an acoustic tour, accompanying the vocals of Lee and Vincent, is a simple acoustic guitar (played by Danny Kavanagh?). This is then followed by “Untouchable Part 1” (6:29) and “Untouchable Part 2” (6:25) both from the Weather Systems album. The treatment of these songs is very sparse in comparison to the studio versions and the beautiful vocals make the trio of tracks very powerful. All in all, this is a very good start to the proceedings, and that view is backed up by the sound of the appreciative audience.

For the last 3 tracks on the first disc, John Douglas, David Wesling and Anna Phoebe join proceedings and “Anathema” (7:32) and “Ariel” (6:08) tend to mirror their studio versions on Distant Satellites more closely before the vocals are taken by Danny Cavanagh for the final song on disc 1, “Electricity” (4:31) from A Natural Disaster.

The opening track on disc 2, “Temporary Peace” (5:15), continues the beautiful serenity that has been prevalent across the first 8 tracks. Stunning vocals from Vincent, with strings, delicate percussion and acoustic guitar, all combine to form an excellent start to the second disc.  A couple of tracks later, on the title track from Distant Satellites, the band is joined by some audience participation. The whole feeling of this concert is that of a band that is truly content with their lot and is happy to show how they have evolved from their beginnings a couple of decades ago.

Older numbers bring the concert to a close with “A Natural Disaster” (8:45), the title track from 2003, and “Fragile Dreams” (7:32) from the 1998 album, Alternative 4.  “A Natural Disaster” is one of the first songs that Lee Douglas guested on back in 2003, as at the time, she was not “officially” in the band, and this version still highlights her powerful, emotive voice. The finale to the evening, “Fragile Dreams” is a superb closing choice with the two voices complementing each other and as the electric guitar runs follow the voices the crowd start to realize the end is close and the ovation starts.

This was perhaps an ambitious project to tour on, and by that I mean, the acoustic set-up. This release, A Sort Of Homecoming, is likely to have already been purchased by fans of the band and they will not have been disappointed in any way. It is possibly not the best entry point for people “trying out” Anathema for the first time as it is slightly different from the studio albums. I thoroughly enjoyed this album but the one glitch on waxing totally lyrical on the album, is that I felt a slight tinge of sameness. Individually the tracks are excellent, but I felt that a double CD just stretched it a little too far. It may sound a bit harsh, but I feel that there is a really excellent single live album hiding in this double album release.

Parting words, as usual, are that this is a very personal opinion and I will always suggest that people have a listen to any of my reviewed albums, as they may well feel very differently towards the music.

4/5 Stars

Key Tracks: The Lost Song Part 2, Distant Satellites, Fragile Dreams

Tracks:

Disc 1
The Lost Song Part 2
Untouchable Part 1
Untouchable Part 2
Thin Air
Dreaming Light
Anathema
Ariel
Electricity

Disc 2
Temporary Peace
The Beginning and The end
Distant Satellites
Take Shelter
Internal Landscapes
A Natural Disaster
Fragile Dreams

Jim “The Ancient One” Lawson-Sr. Reviewer Prog Rock Music Talk
February 3, 2016
Review Provided By Prog Rock Music Talk
 

Progressive Rock Review: Anathema-A Sort Of Homecoming

Release Date: 30th October 2015
Label: KScope
Website: www.anathema.ws

Anathema were formed back in 1990 in Liverpool (the home of the Beatles) and have released 11 studio albums starting with Serenades in 1993 and so far ending with Distant Satellites in 2014. They have also issued 2 live albums, the second of which is reviewed here. This release, A Sort Of Homecoming, was recorded live at the end of a short acoustic tour in Liverpool Anglican Cathedral on 7th March 2015. The band comprised Vincent Cavanagh (vocals, guitar, vocoder), Danny Cavanagh (guitar, keyboards, vocals), Jamie Cavanagh (bass), John Douglas (drums, keyboards) and Lee Douglas (vocals) with a couple of guests contributing to some sections of the concert, David Wesling (cello) and Anna Phoebe (violin). As well as being released as a double CD, the concert is also available as a DVD, Blu-ray and a triple vinyl album.

The CD contains 2 discs with a total of 15 tracks, 8 on disc 1 and 7 on disc 2. The package has a total playing time of around 102 minutes with disc 1 being the shorter of the two discs by around 2 minutes, disc 1 having a running time of 50:13 minutes and disc 2 clocking in at 52:07 minutes. The band take the songs from 6 of their albums with the emphasis on the newest 2 releases, Distant Satellites (5 tracks, 2014), Weather Systems (4, 2012), We’re Here Because We’re Here (2, 2010), A Natural Disaster (2, 2003), A Fine Day To Exit (1, 2001) and Alternative 4 (1, 1998).
The opening track on A Sort of Homecoming is “The Lost Song Part 2” (6:39) from Distant Satellites and, as this was an acoustic tour, accompanying the vocals of Lee and Vincent, is a simple acoustic guitar (played by Danny Kavanagh?). This is then followed by “Untouchable Part 1” (6:29) and “Untouchable Part 2” (6:25) both from the Weather Systems album. The treatment of these songs is very sparse in comparison to the studio versions and the beautiful vocals make the trio of tracks very powerful. All in all, this is a very good start to the proceedings, and that view is backed up by the sound of the appreciative audience.

For the last 3 tracks on the first disc, John Douglas, David Wesling and Anna Phoebe join proceedings and “Anathema” (7:32) and “Ariel” (6:08) tend to mirror their studio versions on Distant Satellites more closely before the vocals are taken by Danny Cavanagh for the final song on disc 1, “Electricity” (4:31) from A Natural Disaster.

The opening track on disc 2, “Temporary Peace” (5:15), continues the beautiful serenity that has been prevalent across the first 8 tracks. Stunning vocals from Vincent, with strings, delicate percussion and acoustic guitar, all combine to form an excellent start to the second disc.  A couple of tracks later, on the title track from Distant Satellites, the band is joined by some audience participation. The whole feeling of this concert is that of a band that is truly content with their lot and is happy to show how they have evolved from their beginnings a couple of decades ago.

Older numbers bring the concert to a close with “A Natural Disaster” (8:45), the title track from 2003, and “Fragile Dreams” (7:32) from the 1998 album, Alternative 4.  “A Natural Disaster” is one of the first songs that Lee Douglas guested on back in 2003, as at the time, she was not “officially” in the band, and this version still highlights her powerful, emotive voice. The finale to the evening, “Fragile Dreams” is a superb closing choice with the two voices complementing each other and as the electric guitar runs follow the voices the crowd start to realize the end is close and the ovation starts.

This was perhaps an ambitious project to tour on, and by that I mean, the acoustic set-up. This release, A Sort Of Homecoming, is likely to have already been purchased by fans of the band and they will not have been disappointed in any way. It is possibly not the best entry point for people “trying out” Anathema for the first time as it is slightly different from the studio albums. I thoroughly enjoyed this album but the one glitch on waxing totally lyrical on the album, is that I felt a slight tinge of sameness. Individually the tracks are excellent, but I felt that a double CD just stretched it a little too far. It may sound a bit harsh, but I feel that there is a really excellent single live album hiding in this double album release.

Parting words, as usual, are that this is a very personal opinion and I will always suggest that people have a listen to any of my reviewed albums, as they may well feel very differently towards the music.

4/5 Stars

Key Tracks: The Lost Song Part 2, Distant Satellites, Fragile Dreams

Tracks:

Disc 1
The Lost Song Part 2
Untouchable Part 1
Untouchable Part 2
Thin Air
Dreaming Light
Anathema
Ariel
Electricity

Disc 2
Temporary Peace
The Beginning and The end
Distant Satellites
Take Shelter
Internal Landscapes
A Natural Disaster
Fragile Dreams

Jim “The Ancient One” Lawson-Sr. Reviewer Prog Rock Music Talk
February 3, 2016
Review Provided By Prog Rock Music Talk
 

Prog Rock Review: Steve Hackett-Wolf Flight

Release Date: April 7, 2015
Label: Inside Out
Website

Mister Steve Hackett still delivers the goods, obviously not intent to rest on his considerable laurels and releasing another masterful work, showing that he remains predictably unpredictable. He has found new energy on the electric scene, not surprising as he has always come across as a consummate musician and a fan (his list of guest appearances runs in pages). When you have a bass/stick man of Nick Beggs' stature, how can one not be inspired? That was a true find, Stevo!

The greatest attribute I can think of in anointing Hackett with special accolades is that he gives the fans what they want: guitar innovations and solos! He is not a musical dilettante who amuses his ego by playing sloppily (and rarely) just to piss others off! I actually showed some you tube vids to an unsuspecting female music fan (who knew nothing of Hackett but knew of "Abacab") and she was shocked how great control and technique he displayed.

There are a few outright jewels here, from the title track to the exhilarating "Love Song to a Vampire", an archetypical Hackett anthem that blends a fabulous melody, choir work, blistering guitar phrasings, a thunderous beat and a genial structure that keeps things palpitating ! That choir blast amid the Roger King orchestrations is insane BTW! Instant pleasure!

The Brits seem fascinated by the carnival, it's an oft repeated theme in both music and film, a merry go round of seemingly simple social pleasures that are overt on the playful "The Wheel's Turning", mixing in the circus like stylings with some brawny playing (Beggs and drummer O'Toole really flex their muscles here), while Hackett tears off some wah-wah licks to great effect. Slightly bluesy and pure fun!

"Corycian Fire" refers to the Corycian cave in Greece, where the oracle began in ancient times and it depicts the rights of wild women invoking the rebirth of Dionysus. Hackett gives the piece a slight Mediterranean touch, with brash percussives and almost Wagnerian chanting that explodes mightily into the soaring sky.

The acoustic Hackett is equally enthralling, so "Earthshine" fulfills that function brilliantly, showcasing his ridiculous maitrise, his picking is phenomenal, rapid and precise. "Loving Sea" has a highly 70s resonance both musically and lyrically, lead and backing vocals conspiring together to create a very pastoral sound, sort of CSNY with prog tendencies. So as such such, its nice but not memorable.

But "Black Thunder" fixes that in a hurry, a booming and volatile beat with the rhythm section doing some serious heavy damage. The guitar attack is nasty, the choir backing voluptuous and the soloing simply devastating. Lots of stop and start themes, mood swings, hodgepodge of industrial sounds and a wickedly tortured solo, you really see the visceral Hackett at work here, not exactly softening up his old age attitude. He can and does, still rock. The highlight track must assuredly be "Dust and Dreams" , a perfect groove laid down by the Beggs-O'Toole tandem riding on burning coals, hot and smoldering, as Hackett drapes his Siberian toned guitar and unleashes a solo that curdles the blood and gooses the skin. Brrrrrr, bloody magic! The mood is oppressive, symphonic and demented, having a similar feel to his classic tune "In Memoriam" off the Darktown album.

This is not his best ever but a close third after Voyage and Spectral, a solid release by prog's resident strongman and legend. 4 lupo lux

Thomas Szirmay-http://www.progfessor.com/

Tracks:
01. Out of the Body
02. Wolflight
03. Love Song to a Vampire
04. The Wheel's Turning
05. Corycian Fire    
06. Earthshine
07. Loving Sea
08. Black Thunder    
09. Dust and Dreams
10. Heart Song
11. Pneuma
12. Midnight Sun
 

Progressive Rock Review: Telergy-Hypatia

Release Date: 19^th June 2015

Label:  Telergymusic

Website

Hypatia is release number 3 for the band, Telergy, the name for the creative vehicle of composer and multi-instrumentalist, Robert McClung. I had not heard of this band prior to The Legend Of Goody Cole arriving on my desk for review in 2013. That release followed on from the debut by Robert, The Exodus, in 2011. All 3 albums are concept releases, with each telling the story of an important historical event. The new release, Hypatia, is based on the life of Hypatia of Alexandria, who was a great mathematician, astronomer, philosopher and teacher who met a tragic death in 415 AD.

Robert recruits musicians to help out in his recordings and he turned his attention to progressive music in 2009 after 2 decades of playing in a variety of genres.

On Hypatia, Robert is responsible for guitar, bass, violin, viola, piano, mandolin, organ, keyboards, flute, balalaika, ukulele, sitar, lap steel guitar, bodhran, percussion and tenor/baritone vocals, along with no less than 38 guest musicians and vocalists, including Durga McBroom-Hudson on vocals (Pink Floyd), Blake Carpenter on vocals (Minstrel’s Ghost) and Oliver Wakeman on keyboards (Yes).

Hypatia is a 17 track album which lasts just over 63 minutes. Nine of the tracks are narrative scene setters which link the main tracks and carry the concept through the album. They tend to be very short and vary in length from just under, to just over, a minute. The longest track on offer is track 4, “Philosopher” with a playing time of 11:44 minutes and the shortest of the main tracks is track 12, “Scapegoat” with a running time of just under 3 minutes. (2:54)

The first main track is track 2, “Astronomer” (7:15) and follows the directional narration of “Scene 1” (0:38). The initial building up of gentle sounds, slowly increasing in intensity, is suddenly blown away by the thundering entry of “the band” at just over a minute. Chunky guitar chords and stunning keyboards/synths run riot and a superb lead guitar weaves a melody over the solid background. Around the 2:30 minute mark, the lead instrument morphs into a stunningly emotive violin with a particularly memorable theme. A little muffled atmospherics carries the track into a very upbeat flute passage which reintroduces a level of chunkiness whilst maintaining an almost Eastern feel. Once again the guitar gets a chance to show off a little as the track starts to drive along and then settle back into the chunky feel of the starting point. This track works very well and bodes well for the album, remembering that it is a concept album and is mainly instrumental in nature.

A second short narrated scene setter, “Scene 2” (0:37) leads the listener into the longest track on offer, but only by seconds, “Philosopher”.(11:44) This time the band is piano based and has a magnificent arrangement of choral voices set against majestic strings. The slow “burn” of the choir fades to usher in some subtle synths which are joined by drums and bass to form a driving track with a terrific feel. The choir splits and leaves the male and female voices at times harmonizing and at others juxtaposing for the lead. The violin sweeps along with an excellent theme as the track approaches the halfway point before giving the piano a chance to lead the way. A change to a slower, almost melancholy, theme backed by some excellent strings lulls the listener into a false sense of security before the band “up the stakes” with a very metal section leading into a frenetic synth section which morphs into an electric guitar theme before returning to the synth. The track ends with a gentle orchestral fade out. 

One of the best tracks on offer is track 14, “Murder” (9:30) which aurally illustrates the brutal ending which befell Hypatia, when a small riot caused by rivals of her ideas, climaxed with Hypatia being attacked and killed by having pieces of her body cut off. The track conjures up the atmosphere of the unfolding brutal killing by constantly building in intensity, together with “shouting from the mob” in the background. The choir adds to the mesmeric soundscape being produced and there is a distinct slant to a metal style in the driving music. The slow section coinciding with the realization of the actions of the mob is stunning, bookended as it is by the metal style of the rest of the track.

Telergy has successfully produced another concept album which works very well, considering that the “storyline” for the most part is only being suggested by the instrumental nature of the music and the details of the story are being formulated inside the head of the listener. The music echoes the developing concept so well and shows that instrumental music that is well thought out, properly produced and played with passion will indeed “speak” to the listener.

Hypatia is not an “immediate” album and indeed I had listened several times before it suddenly all just worked and I found the album eye-opening (or should that be ear-opening?). My advice would be to give the album a chance, it does require multiple listens, but hopefully you will then appreciate just over an hour of excellent instrumental progressive music and the concept held within.

4.5/5 Stars

Key Tracks: Astronomer, Philosopher, Murder

Tracks:
Scene 1
Astronomer
Scene 2
Philosopher
Scene 3
Mathematician
Scene 4
Teacher
Scene 5
The Burning of the Library of Alexandria
Scene 6
Scapegoat
Scene 7
Murder
Scene 8
Martyr
Scene 9

 

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

October 12, 2015

Review Provided By Prog Rock Music Talk

Progressive Rock Review: Telergy-Hypatia

Release Date: 19^thJune 2015

Label:  Telergymusic

Website

Hypatia is release number 3 for the band, Telergy, the name for the creative vehicle of composer and multi-instrumentalist, Robert McClung. I had not heard of this band prior to The Legend Of Goody Cole arriving on my desk for review in 2013. That release followed on from the debut by Robert, The Exodus, in 2011. All 3 albums are concept releases, with each telling the story of an important historical event. The new release, Hypatia, is based on the life of Hypatia of Alexandria, who was a great mathematician, astronomer, philosopher and teacher who met a tragic death in 415 AD.

Robert recruits musicians to help out in his recordings and he turned his attention to progressive music in 2009 after 2 decades of playing in a variety of genres.

On Hypatia, Robert is responsible for guitar, bass, violin, viola, piano, mandolin, organ, keyboards, flute, balalaika, ukulele, sitar, lap steel guitar, bodhran, percussion and tenor/baritone vocals, along with no less than 38 guest musicians and vocalists, including Durga McBroom-Hudson on vocals (Pink Floyd), Blake Carpenter on vocals (Minstrel’s Ghost) and Oliver Wakeman on keyboards (Yes).

Hypatia is a 17 track album which lasts just over 63 minutes. Nine of the tracks are narrative scene setters which link the main tracks and carry the concept through the album. They tend to be very short and vary in length from just under, to just over, a minute. The longest track on offer is track 4, “Philosopher” with a playing time of 11:44 minutes and the shortest of the main tracks is track 12, “Scapegoat” with a running time of just under 3 minutes. (2:54)

The first main track is track 2, “Astronomer” (7:15) and follows the directional narration of “Scene 1” (0:38). The initial building up of gentle sounds, slowly increasing in intensity, is suddenly blown away by the thundering entry of “the band” at just over a minute. Chunky guitar chords and stunning keyboards/synths run riot and a superb lead guitar weaves a melody over the solid background. Around the 2:30 minute mark, the lead instrument morphs into a stunningly emotive violin with a particularly memorable theme. A little muffled atmospherics carries the track into a very upbeat flute passage which reintroduces a level of chunkiness whilst maintaining an almost Eastern feel. Once again the guitar gets a chance to show off a little as the track starts to drive along and then settle back into the chunky feel of the starting point. This track works very well and bodes well for the album, remembering that it is a concept album and is mainly instrumental in nature.

A second short narrated scene setter, “Scene 2” (0:37) leads the listener into the longest track on offer, but only by seconds, “Philosopher”.(11:44) This time the band is piano based and has a magnificent arrangement of choral voices set against majestic strings. The slow “burn” of the choir fades to usher in some subtle synths which are joined by drums and bass to form a driving track with a terrific feel. The choir splits and leaves the male and female voices at times harmonizing and at others juxtaposing for the lead. The violin sweeps along with an excellent theme as the track approaches the halfway point before giving the piano a chance to lead the way. A change to a slower, almost melancholy, theme backed by some excellent strings lulls the listener into a false sense of security before the band “up the stakes” with a very metal section leading into a frenetic synth section which morphs into an electric guitar theme before returning to the synth. The track ends with a gentle orchestral fade out. 

One of the best tracks on offer is track 14, “Murder” (9:30) which aurally illustrates the brutal ending which befell Hypatia, when a small riot caused by rivals of her ideas, climaxed with Hypatia being attacked and killed by having pieces of her body cut off. The track conjures up the atmosphere of the unfolding brutal killing by constantly building in intensity, together with “shouting from the mob” in the background. The choir adds to the mesmeric soundscape being produced and there is a distinct slant to a metal style in the driving music. The slow section coinciding with the realization of the actions of the mob is stunning, bookended as it is by the metal style of the rest of the track.

Telergy has successfully produced another concept album which works very well, considering that the “storyline” for the most part is only being suggested by the instrumental nature of the music and the details of the story are being formulated inside the head of the listener. The music echoes the developing concept so well and shows that instrumental music that is well thought out, properly produced and played with passion will indeed “speak” to the listener.

Hypatia is not an “immediate” album and indeed I had listened several times before it suddenly all just worked and I found the album eye-opening (or should that be ear-opening?). My advice would be to give the album a chance, it does require multiple listens, but hopefully you will then appreciate just over an hour of excellent instrumental progressive music and the concept held within.

4.5/5 Stars

Key Tracks: Astronomer, Philosopher, Murder

Tracks:
Scene 1
Astronomer
Scene 2
Philosopher
Scene 3
Mathematician
Scene 4
Teacher
Scene 5
The Burning of the Library of Alexandria
Scene
Scapegoat
Scene 7
Murder
Scene 8
Martyr
Scene 9

 

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

October 12, 2015

Review Provided By Prog Rock Music Talk

Progressive Rock Review: Kinetic Element-Travelog

Release Date: 1^st June 2015

Label:  Melodic Revolution Records

Website

This is another first for The Ancient One, having not come across the band, Kinetic Element, before the second release from the band, Travelog, landed on my review desk. This new release follows on from the bands’ debut album release, Powered By Light, issued in 2009.

Kinetic Element originally came into being as the creative vehicle for Mike Visaggio, who had just completed his debut solo album and was looking to recruit musicians to perform live. Mike and the three additional musicians worked so well together that they became a band project, and Kinetic Element, the band, entered the realms of progressive music. There was one other release prior to the full album debut, and that was the EP, The Powered By Light Suite in 2008.

The band consisted of the following members and guests when Travelog was recorded. The 4 members of the band were Mike Visaggio (keyboards), Todd Russell (guitars), Mark Tupko (bass) and Michael Murray (drums), with guests Dimetrius LaFavors, Mike Florio and Michelle Loose Schrotz providing vocals on the tracks. The band had only shown one change in the personnel from the debut, although other changes happened between times, and that was Mark Tupko replacing Tony D’Amato on bass.

Travelog is a 5 track album with a running time of around 70 minutes, meaning that all tracks are fairly long, with the shortest, and title track, still nudging the 10 minute mark (9:51) and the opening track to the album, “War Song” stretching on past the 20 minute mark (20:32).

“War Song” (20:32), the opening track on Travelog is a majestic piece of work. The track starts with some atmospheric synths and percussion before the drums and bass all join in and the music simply builds, layer by layer, providing a superb introduction passage. Around the 2 minute mark, the guitar soars above all and you realize, this early into the album, that you are listening to an amazing piece of music. The constant layering and variation of the lead instrument just draws you deeper and deeper into the music. The repetition of little themes penetrates into your mind so easily. Around 4:30 minutes, there is a sudden change to military style snare strumming and an almost Celtic feel to the acoustic guitar. The vocals enter and fit the music like a glove. Some more stunningly simple guitar backed by the unobtrusive bass/drums link to the next vocal section. Just prior to the 8 minute mark there is an almost medieval style theme with guitar and keyboards to the fore. The flow of the track is effortless as it moves from passage to passage. All of the musicians shine brightly with majestic keyboards from Mike, cutting edge guitar from Todd, and a beautifully solid power machine of drums and bass by Michael and Mark respectively. The constant tempo and mood changes make this track so mesmerizing that you just want to listen to it over and over, before it eventually crosses your mind that there are another 4 tracks still to go. This is a stunning start to Travelog.

The title track is next up, “Travelog” (9:51) and shows off the superb acoustic guitar skills of Todd. Themes appear, fade and reappear again prior to the 2 minute point. I will admit that I did find the vocals a little disappointing compared to “War Song,” as they didn’t seem to gel as well. This is beautiful music by the band, but just fails to hit the heights of the opening track. A long pastoral style sequence takes the track out on a high.

“Into The Lair” (10:08) is similar in style to Yes in approach with stunning guitar and majestic keyboards, a la Steve Howe and The Caped Crusader himself (Rick Wakeman) and the listener is back at the dizzying heights of the opening track.

Next up is the track, “Her” (11:19) with a wonderful “waterfall” piano theme, conjuring up the best moments of Tony Banks (Genesis) as it then evolves into piano and keyboard passages. A sudden change to a jangled guitar chord leads the track into the vocals which have subtle guitar themes running behind them. The song builds and just on the 8 minute mark there is an absolutely stunning keyboard section which slowly heralds the vocals and chunky guitar return.

The final track, “Vision of a New Dawn” (18:26) has a terrific piano intro until a superb jazz styled guitar takes up the reins and then starts to soar. A drop in the sound leads into a very atmospheric acoustic guitar theme and then more of Mike’s majestic keyboards assume the musical mantle. Gentle piano leads into the vocals, which are suitably emotional and another excellent guitar melody backs the vocal. Unobtrusive they may be for most of the time, but the superb playing of Michael and Mark, the rhythm section, is always exceptional. Just at the 10 minute mark, there is a tempo and style change with an instrumental passage, led by the keyboards, which sweeps the track along with the band in excellent form. Moving to the 15 minute point and the strummed acoustic guitar puts in an appearance, with a melody being whistled, yes I did say whistled, which ushers in the vocals as the last track enters its final furlong and the song meanders towards its goodbye.

I had not heard of Kinetic Element before this album, but Travelog is the type of surprise that simply blows the listener away. There have been many releases in 2015 that have, in my opinion, been excellent, but I can safely say that Travelog is my No. 1 album of 2015 at this point.

All fans of progressive music need to hear this album and I would be very surprised if Travelog did not find its way onto many thousands of home CD shelves. Bearing in mind I was a little dubious about the vocals on the title track, I would like to thank Mike, Todd, Mark and Michael, together with the 3 guest vocalists, for producing such a superb album.

The Ancient One has already featured “War Song” on the radio show (Progzilla Radio) and my simple advice to everyone is to just go out and buy your copy of Travelog as soon as is humanly possible.

5/5 Stars

Key Tracks: War Song, Into The Lair, Vision of a New Daw

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

September 13, 2015

Review Provided By Prog Rock Music Talk

Tracks:
War Song
Travelog
Into The Lair
Her
Vision Of A New Dawn

Progressive Rock Review: Kinetic Element-Travelog

Release Date: 1^stJune 2015

Label:  Melodic Revolution Records

Website

This is another first for The Ancient One, having not come across the band, Kinetic Element, before the second release from the band, Travelog, landed on my review desk. This new release follows on from the bands’ debut album release, Powered By Light, issued in 2009.

Kinetic Element originally came into being as the creative vehicle for Mike Visaggio, who had just completed his debut solo album and was looking to recruit musicians to perform live. Mike and the three additional musicians worked so well together that they became a band project, and Kinetic Element, the band, entered the realms of progressive music. There was one other release prior to the full album debut, and that was the EP, The Powered By Light Suite in 2008.

The band consisted of the following members and guests when Travelog was recorded. The 4 members of the band were Mike Visaggio (keyboards), Todd Russell (guitars), Mark Tupko (bass) and Michael Murray (drums), with guests Dimetrius LaFavors, Mike Florio and Michelle Loose Schrotz providing vocals on the tracks. The band had only shown one change in the personnel from the debut, although other changes happened between times, and that was Mark Tupko replacing Tony D’Amato on bass.

Travelog is a 5 track album with a running time of around 70 minutes, meaning that all tracks are fairly long, with the shortest, and title track, still nudging the 10 minute mark (9:51) and the opening track to the album, “War Song” stretching on past the 20 minute mark (20:32).

“War Song” (20:32), the opening track on Travelog is a majestic piece of work. The track starts with some atmospheric synths and percussion before the drums and bass all join in and the music simply builds, layer by layer, providing a superb introduction passage. Around the 2 minute mark, the guitar soars above all and you realize, this early into the album, that you are listening to an amazing piece of music. The constant layering and variation of the lead instrument just draws you deeper and deeper into the music. The repetition of little themes penetrates into your mind so easily. Around 4:30 minutes, there is a sudden change to military style snare strumming and an almost Celtic feel to the acoustic guitar. The vocals enter and fit the music like a glove. Some more stunningly simple guitar backed by the unobtrusive bass/drums link to the next vocal section. Just prior to the 8 minute mark there is an almost medieval style theme with guitar and keyboards to the fore. The flow of the track is effortless as it moves from passage to passage. All of the musicians shine brightly with majestic keyboards from Mike, cutting edge guitar from Todd, and a beautifully solid power machine of drums and bass by Michael and Mark respectively. The constant tempo and mood changes make this track so mesmerizing that you just want to listen to it over and over, before it eventually crosses your mind that there are another 4 tracks still to go. This is a stunning start to Travelog.

The title track is next up, “Travelog” (9:51) and shows off the superb acoustic guitar skills of Todd. Themes appear, fade and reappear again prior to the 2 minute point. I will admit that I did find the vocals a little disappointing compared to “War Song,” as they didn’t seem to gel as well. This is beautiful music by the band, but just fails to hit the heights of the opening track. A long pastoral style sequence takes the track out on a high.

“Into The Lair” (10:08) is similar in style to Yes in approach with stunning guitar and majestic keyboards, a la Steve Howe and The Caped Crusader himself (Rick Wakeman) and the listener is back at the dizzying heights of the opening track.

Next up is the track, “Her” (11:19) with a wonderful “waterfall” piano theme, conjuring up the best moments of Tony Banks (Genesis) as it then evolves into piano and keyboard passages. A sudden change to a jangled guitar chord leads the track into the vocals which have subtle guitar themes running behind them. The song builds and just on the 8 minute mark there is an absolutely stunning keyboard section which slowly heralds the vocals and chunky guitar return.

The final track, “Vision of a New Dawn” (18:26) has a terrific piano intro until a superb jazz styled guitar takes up the reins and then starts to soar. A drop in the sound leads into a very atmospheric acoustic guitar theme and then more of Mike’s majestic keyboards assume the musical mantle. Gentle piano leads into the vocals, which are suitably emotional and another excellent guitar melody backs the vocal. Unobtrusive they may be for most of the time, but the superb playing of Michael and Mark, the rhythm section, is always exceptional. Just at the 10 minute mark, there is a tempo and style change with an instrumental passage, led by the keyboards, which sweeps the track along with the band in excellent form. Moving to the 15 minute point and the strummed acoustic guitar puts in an appearance, with a melody being whistled, yes I did say whistled, which ushers in the vocals as the last track enters its final furlong and the song meanders towards its goodbye.

I had not heard of Kinetic Element before this album, but Travelog is the type of surprise that simply blows the listener away. There have been many releases in 2015 that have, in my opinion, been excellent, but I can safely say that Travelog is my No. 1 album of 2015 at this point.

All fans of progressive music need to hear this album and I would be very surprised if Travelogdid not find its way onto many thousands of home CD shelves. Bearing in mind I was a little dubious about the vocals on the title track, I would like to thank Mike, Todd, Mark and Michael, together with the 3 guest vocalists, for producing such a superb album.

The Ancient One has already featured “War Song” on the radio show (Progzilla Radio) and my simple advice to everyone is to just go out and buy your copy of Travelog as soon as is humanly possible.

5/5 Stars

Key Tracks: War Song, Into The Lair, Vision of a New Daw

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

September 13, 2015

Review Provided By Prog Rock Music Talk

Tracks:
War Song
Travelog
Into The Lair
Her
Vision Of A New Dawn

Prog Rock Review: John Wetton-The Studio Recordings (Anthology)

Release Date:  17^th March 2015

Label:  Primary Purpose

Website

The Studio Recordings Anthology Volume 1 is a look back at the solo career of a man of whom it has been said “has been in more bands than many of us have had hot dinners,” and the man in question is John Wetton. A brief listing of his band involvements certainly gives a flavor of the variety of “jobs” he has had with Mogul Thrash, Family, King Crimson, Roxy Music, Uriah Heep, UK and Asia.

As to JW’s solo output, there are 10 studio albums listed from Caught In The Crossfire (1980) to Raised in Captivity (2011), 9 live albums from Chasing The Dragon (1995) to New York Minute (2015) and 5 compilation/box sets form Kings Road 1972-1980 (1987) to the album for review, The Studio Recordings Anthology Volume 1 (2015).

I would normally give an indication as to the band members involved in the review of an album, but as the contents of the release span 31 years, I feel it would be a thankless task, as well as taking up many pages.

The selection of tracks on Anthology Vol 1 come from his “true” solo albums, 3 tracks taken from Caught In The Crossfire (1980), 5 from Battle Lines (1994), 8 from Arkangel (1998), 7 from Sinister (2001), 6 from Rock of Faith (2003) and 3 from Raised in Captivity (2011). Although I suggested that there were 10 solo albums, 3 were collaborations with Geoffrey Downes (Icon, Icon 2 and Icon 3) and the other was a collaboration with Phil Manzanera. I must admit there is one thing that I sit on the fence with anthology albums, and that is whether the chosen tracks should run chronologically or not, as having the chance to see how the artist has evolved through the years I think is a very good thing.

Anthology Vol 1 is a double CD carrying 32 tracks with a total playing time of around 140 minutes with each CD lasting seconds under 70 minutes. The longest, and shortest, tracks on offer are “Take me To The Waterline” on disc 2, and “The Circle Of St Giles” on disc 1, playing for 6:08 minutes and 2:03 minutes respectively.

I will freely admit that John Wetton is not very high on my personal list of listening favorites, although I have been aware of him since being “blown away” by the Family releases back in the 60’s. This release is an excellent introduction to the writing and the music of John Wetton with a fantastic selection of rock ballads which effortlessly move from quiet, soft vocals and music, through some stunning guitar breaks, the addition of excellent orchestration when required, but which is never obtrusive, and at times, some blistering work from John and his myriad of guests.

Tracks that caught my attention after several plays include, “Cold Is The Night” (5:19), “Second Best” (4:01), “Where Do We Go from Here” (3:21), “Heart Of Darkness” (4:51), “The Last Thing On My Mind” (3:49), “Battle Lines” (5:25), “Raised In Captivity” (6:06) and “Take Me To The Waterline” (6:08), but there are no “fillers” on this album. The double release is a welcome addition to anyone’s CD collection, unless, of course, you already possess the original albums.

I would certainly recommend giving The Studio Recordings Anthology Volume 1 a few listens as I was extremely impressed by the material on offer, and I will dip into the music from time to time. My view on the writing and music of John Wetton has rocketed from the position it was, having recently reviewed a couple of his live releases, which were less than impressive.

This is a superb retrospective from a giant in this genre.

4.5/5 Stars

Key Tracks: Take Me To The Waterline, The Last Thing On My Mind, Raised In Captivity


Disc 1:

The Circle Of St Giles
The Last Thing On My Mind
Hold Me Now
Where Do We Go From Here?
Another Twist of The knife
I’ve Come To Take You Home
I Can’t Lie Anymore
Lost For Words
Battle Lines
Caught In The Crossfire
Arkangel
Right Where I Wanted To Be
Nothing’s Gonna Stand In Our way
Second Best
Woman
Real World

Disc 2:

Heart Of Darkness
Say It Ain’t So
Cold Is The Night
You’re Not The Only One
Raised in Captivity
Steffi’s Ring
Walking On Air
Take Me To The Waterline
Silently
Battle Lines (Acoustic)
I Lay Down
Rock Of Faith
Who Will Light A Candle?
 

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

August 25, 2015

Review Provided By Prog Rock Music Talk