Review – The Australian Pink Floyd Show

The Apollo, Manchester

Saturday 27 November 2021

Classic Pink Floyd songs brought to life with an Australian twist

****

The last time Pink Floyd played an indoor concert venue in Manchester was nearly 50 years ago at the Palace Theatre on 10 December 1974. It seems unlikely that the three surviving members will ever play live together again, although Nick Mason has already played the Apollo with his band Saucerful of Secrets and is returning next year to play more of the band’s early material. In the meantime, fans of the band can enjoy the Australian Pink Floyd Show, a chance to hear live versions of songs that are too good never to be heard live again.

The potential problem with a tribute band is that they can earnestly replicate the exact notes that the original band played without really capturing the spirit of that band. This can sometimes happen with the Australian Pink Floyd Show, but at their best they take flight and their passion and energy lift the songs so they become less of a high quality reproduction of an Old Master and more like the original, with all the depth of the brushstrokes and the subtlety of the colour intact. Guitarist David Domminney Fowler in particular is able to lift a song, both with his soulful vocals and the fluid grace of his soloing. And the vocals throughout were excellent – lead vocalist Chris Barnes (a Salford University graduate) was always passionate and polished, and Ricky Howard brought the rougher edge of Dave Gilmour’s vocals to life. And a special mention for Lorelei McBroom, Emily Lynn and Lara Smiles who provided warm and energetic backing vocals throughout and all shone in their solos in The Great Gig in the Sky.

The other dilemma faced by a tribute band is whether they should faithfully play every note of the original songs from the albums, or whether they should allow themselves to improvise when playing the songs live. Pink Floyd themselves, particularly in later years, added extended guitar solos and Money had a breakdown jam section that was absent from the Australian Floyd’s version and would perhaps have lifted it. So it was great to hear Another Brick in the Wall Part II in a longer version, with added guitar parts at the end, while the grotesque inflatable teacher nodded along menacingly. Another highlight was a modified version of One of These Days, which made great use of the guitars appearing at either side of the stereo picture. It also featured an inflatable, a pink kangaroo with a disturbingly rat like smile. There were several other witty references to the band’s Australian origin, including the famous image from Wish You Were Here of the man on fire shaking now shaking hands with a kangaroo, and the radio station browsing at the start of that song being replaced by TV channel-hopping shows including Neighbours. But there was more poignant imagery on the circular screen behind the band too, early pictures of the original band with the haunted face of Syd Barrett providing a moving backdrop to an excellent rendition of Shine on You Crazy Diamond.

Amongst all the ‘hits’, it was good to hear some slightly lesser-known songs. The second half opened with a superb version of Astronomy Domine which featured on ‘Ummagumma’ in a live version recorded over 50 years ago in 1969. And there was a blistering version of Sheep from the 1977 album ‘Animals’, featuring the bizarre mangling of spoken words from Psalm 23, ‘The Lord is my shepherd, He converteth me to lamb cutlets.’

The show ended with two encores, a powerful version of Run Like Hell and a rousing Comfortably Numb for which the audience was on its feet, a thrilling ending to a very good evening.

Review – Disillusioned by Mariana Semkina

Haunting new EP from an exceptional talent

*****

Mariana Semkina, the vocalist from iamthemorning (her duo with pianist Gleb Kolyadin) released her debut solo album Sleepwalking last year. Previously based in St Petersburg, she now lives in England but unlike many artists she felt unable to take advantage of Covid restrictions to write new material, ‘I flew to Russia for a week and got stuck there when borders shut for half a year due to lockdown’. She describes how the depression she suffered as a result of feeling trapped only lifted on her return to England, where she was able to start writing again. The result is her new solo EP, Disillusioned, with three new songs and two traditional folk songs from Hungary and Iceland.

The opening track Friend has a sound world that is a departure from Mariana’s previous work. It begins with disturbing electronic drones and frenetic strings, with phased drums that contrast with the fragile vocals. The evocative video suggests that the protagonist of the song has lost her ‘only friend’. She drags her friend’s body through the woods, and when the music suddenly drops out there is an ethereal, distant wordless melody as she starts to bury him. A chillingly melodramatic and profoundly beautiful start to the EP, thematically it continues Mariana’s preoccupation with death, describing herself on Twitter as a ‘dead Victorian girl’.

Ne Hagyj Itt is the first of two tracks on the EP which reflect Mariana’s love of different languages and cultures. She says, ‘There is a Czech proverb that says “learn a new language and get a new soul”, and I certainly feel this way’. The song was written by the Hungarian composer Béla Bartók and published in 1935 as part of his 27 Two and Three Part Choruses based on traditional Hungarian folk songs. The title means ‘Don’t leave me here’, and the words describe the protagonist’s plea to the addressee to reveal the road she is taking so that he can plough it with a golden plough, sow the land with pearls and water it with tears. Mariana’s gorgeous, yearning multi-tracked vocals and beautiful harmonies sit on a bed of subtle electronics.

The title song Disillusioned refers partly to Mariana’s disillusionment with the music industry which has led her to release this EP herself via the bandcamp website. She says ‘having full control over your creations is quite precious and beautiful’. The song is superbly arranged, with warm strings and a gentle electronic wash bringing a bittersweet quality to Mariana’s subtle but heartfelt anguish.

Land Míns Föður is the second song on the EP to feature another language and culture. As Mariana says, ‘each language is special and works differently and beautifully with music’. This Icelandic folk song is a patriotic and imaginative celebration of the land of the poet’s father. The melancholy yearning of the song is captured in the multi-tracked vocals, drenched in echo. At only 90 seconds long, this is a little gem.

With a bass line that provides a gently-beating heart An End provides an uplifting end to the EP, moving from introspection to an epic chorus. The song concludes with an unresolved chord that fades into nothingness, perhaps casting doubt on the hope that it had raised. Throughout the EP, Mariana’s songwriter and abilities as an arranger show an even greater depth of maturity than on previous releases. Her voice continues to develop and grow, ranging from crystalline beauty to a more robust tone when required. The addition of electronics makes the sound world even richer and more evocative than before, creating a haunting listen from an exceptional talent.

Personnel

Marjana Semkina – vocals, backing vocals, lyrics

Vlad Avy – guitar
Grigoriy Losenkov – piano, keyboards, bass guitar
Svetlana Shumkova – drums, percussion

String Quartet:
1st Violin Semen Promoe
2nd Violin Marina Ryabova
Viola Alexander Shtabkin
Cello Anatoli Vorontsov

Review – The Last Gig by Adam Holzman and Brave New World

Impeccable live jazz-rock from former Miles Davis music director and Steven Wilson’s keyboard player

*****

On 12 March 2020, keyboard player Adam Holzman and his band Brave New World drove to the Nublu club to soundcheck for a gig that night. The global pandemic was about to close New York City. Broadway had just shut down, but as Adam said later, ‘we decided to play anyway. Something big was coming, and who knew when we’d be able to perform again?… Only about 18 hardcore fans showed up.’

Adam Holzman has been Steven Wilson’s regular keyboard player since he joined the Grace for Drowning tour in late 2011 in support of Steven’s second solo album.

But Adam’s musical pedigree goes back much further than that; most notably he was with Miles Davis’ band for nearly five years, eventually becoming Miles’ musical director. And going back further still, Adam’s father is Jac Holzman, founder of Elektra Records (who signed The Doors) and Nonesuch Records (who began by specialising in European Early Music, but also commissioned the pioneering electronic album Silver Apples of the Moon, by the American composer Morton Subotnick in 1967). Adam tells stories of when he was a boy and Jim Morrison came to the house, and Adam showed Jim his toy keyboard and tape recorder; quiet moments when Jim was far from his rebellious and controversial public persona. Young Adam was also hugely influenced by The Doors’ keyboard player Ray Manzarek.

The album opens with Intro – The Age of Fear with dystopian synth noises, and ominous voices intoning, ‘The age of fear; the creative spirit must fight to stay alive’, words that take on a poignant significance in this context. But since the 1980s, Adam has made music under the title ‘Optimistic music in the time of fear’, so perhaps there is hope, and the vigorous drum solo from Gene Lake, with bubbling analogue synth sounds suggest that there is still life in music.

On the tour to support Steven Wilson’s third solo album, The Raven That Refused to Sing,  Adam began to do piano improvisations each night at the start of Deform to Form a Star, a song from Steven’s second solo album Grace for Drowning. He collected them together on The Deform Variations in 2015. The second track Pianodemic is another in that tradition, a moment of optimism despite the reference to the Pandemic in the title.

The next three tracks are taken from Adam’s 2018 album Truth Decay. As is often the case with jazz, the live versions have more power and energy than the studio versions, good though they are. The first of these, Ectoplasm, bursts into life with fierce drumming and cool Fender Rhodes keyboards. On the NewEars Prog Show podcast Adam described the Fender as ‘the electric guitar of jazz’, and it plays an important role on this album (although the instrument Adam plays is a Korg SV1 Stage Vintage piano). Throughout the album, Adam gives space to the other players in the band rather than just showing off his keyboard skills, virtuosic as they are, so the album feels like a true band album.

The next track, Phobia has a lovely, spacey, open feel with an atmospheric main theme with evocative harmonies. It gives all the band their chance to shine above the backbeat – first Adam with some distorted Fender Rhodes sounds, then Ofer Assaf, with evocative saxophone, then Jane Getter on heavily echoed guitar. An excellent track.

Growing up as the son of a record company executive, Adam could easily have had a very cynical view of the music industry, the kind of view expressed by a relative who might have said, Good Luck with your Music, in the way that we might say, ‘good luck with that.’ But Adam’s father has been supportive of his son, and it seems that Adam has retained his joy in music making. This is a seriously funky track with an earworm for a chorus, featuring excellent rumbling bass playing from Freddy Cash jr.

Adam originally recorded Maze, a Miles Davis song in 1985, live in the studio just before the sessions for Miles’ 1986 album Tutu. The track finally appeared on the Rubberband album released in 2019. Adam described the track as having, ‘a killer groove…with a flat-out burning solo.’

The final song, Abandoner is a cover of a track from Steven Wilson’s first solo album Insurgentes. The original track begins with a lovely, introspective quality, and Steven’s plaintive vocals are replaced here with soulful saxophone playing from Ofer Assaf. As the title suggests, the song is about loss and abandonment, and Adam’s version perfectly captures this. Steven’s song descends into terrifying noise, perhaps reflecting bitterness and anger at being abandoned. Adam’s version takes a slightly quieter, but equally effective approach.

This is a stunning live album, although it often sounds like a studio album both because of the quality of the playing and the recording, and the fact that the audience is small due to the Pandemic. Holzman says, ‘As of now, it’s still the last gig’. Let’s hope it’s not too long before he is able to tour again.

Remixed Review – Steven Wilson B Sides and Bonus Tracks

Additional content on up-to-date media

****

The recent release of a new song by Steven Wilson, Anyone But Me is an opportunity to review some of the recent bonus material and B-sides associated with his top 5 album THE FUTURE BITES™

Update – June 2021 – the Scottish rock-band have remixed Personal Shopper, turning it into a rock anthem.

The B-Sides Collection

1 Eyewitness

Steven Wilson has often spoken about growing up in a household in which his father listened to Pink Floyd and his mother listened to the disco music of Donna Summer, and this track begins with an instrumental homage to the latter’s 1977 song ‘I Feel Love’. Both tracks open with a burst of noise, followed by sequenced synthesisers on the same note (c). But whereas Donna Summer’s disco epic runs at a fairly stately 120 bpm, Steven Wilson’s propulsive song powers along at around 150 bpm. There is an obvious debt to the classic disco of Giorgio Moroder, but Steven Wilson adds an urgent modern take to 1980s style synth-pop. As usual, the production is very imaginative – listen to the middle eight (repeated) at around 3.30 into the track, when the driving instruments drop out and there is a sudden moment of tenderness in the vocals. 

The theme of the track is one that Steven explored in detail with Porcupine Tree on their 2007 classic Fear of a Blank Planet, the failure of many people to engage with life, preferring to remain drugged up and passive, ‘Now take your meds and stay in bed/It’s all gonna happen to you anyway.’

2 In Floral Green

The first cover that Steven Wilson has released since his 2014 album Cover Version, this song was written by John Mitchell (leader of prog/pop band It Bites since 2006) and released in 2017 as part of his solo project Lonely Robot. John told Prog magazine that the song was about the loss of social connection in the modern world, and that, ‘we as a species probably need to be around a lot less drab grey and a lot more rustic green’.

Unusually, Steven Wilson approached John Mitchell for permission to use the original backing tracks for the song rather than creating his own, which is why the two versions sound very similar. Steven told Rob Skarin that, ‘it felt like my song’.

Both versions use spoken word extracts from the speeches of the British writer, Alan Watts, whose writings helped introduce Buddhism, Taoism, and Hinduism to a wider Western audience. John Mitchell told Grant Moon of Prog magazine that Watts was, ‘a great advocate of this idea of, ‘the solipsistic haze’ – that are we all a part of somebody else’s imagining, that life is a great conspiracy, a grand design, a dream.’

3 Move Like a Fever

A fiercely electronic track, uncompromising in its presentation and message, this song follows the theme of the effects of social media and empty fame on modern life that is so important on the FUTURE BITES album. The vocals are almost brutal in their delivery on lines such as, ‘The American idol/Is dead on arrival.’ Some fans have baulked at this new directness in Steven Wilson’s work, far from the loving, meticulous recreation of 1970s prog on The Raven That Refused to Sing (2013), but it is undeniably effective. As always, he moves forward in a way that is truly progressive, not worrying about alienating some of his fans whilst satisfying others and finding new ones. As he told Electronic Sound magazine, ‘I recognise that I’ve repeatedly shot myself in the foot by doing the thing that was least expected.’

4 King Ghost – Tangerine Dream Mix

A radical remix of the track from THE FUTURE BITES, over twice as long as the original, expertly done by Thorsten Quaeschning and Paul Frick, both of whom are in the current incarnation of Tangerine Dream. Although they were only a few years old during the 1970s, the period that many consider the most productive and innovative of the band, they manage to recreate a superbly authentic version of Tangerine Dream from that era. The relevant section begins around three minutes into the track, until around 7.30 when it wittily grinds to a brief halt. The Tangerine Dream section is bookended by a few minutes that take material from the original track, taking Steven Wilson’s haunting, stratospheric falsetto vocals as a theme, but never allowing the vocals to break through fully, creating a magical new track.   

Single – Anyone But Me

This gorgeous song was a very last-minute casualty of COVID-19. It was due to be released as the final track of THE FUTURE BITES. The album had even been mastered and cut, but as Steven Wilson says on his YouTube channel the delay in the album’s release caused by the pandemic gave him a chance to re-evaluate. The record was eventually released several months later but the song had been replaced with the, ‘more laid back and atmospheric’ Count Of Unease.

A demo of the song was released as part of the Limited Edition Deluxe Box Set of the album on ‘obsolete media’ (cassette; although sales of cassettes have increased recently). The song features Fyfe Dangerfield from Guillemots on lovely ELO-style backing vocals.

Single – Personal Shopper (Nile Rodgers remix)

On his YouTube channel Steven Wilson says he grew up listening to disco, including the music of Chic, featuring Nile Rodgers so, ‘it’s an absolute thrill to have Nile stamp his legendary signature sound on the track.’ This version of the song combines the European electronic pop of Giorgio Moroder with Nile Rodgers’ funky guitar, emphasising the disco elements and placing less emphasis on the pensive melancholy of the original from the FUTURE BITES album (review here).

Single – Personal Shopper Biffy Clyro Remix 

Biffy Clyro’s remix of this largely electronic song opens with a ethereal vocals and a mesmerizing drone, with a new percussion track and heavy guitars that transports the song to an unexpected world. The almost clinical disco of the original track is replaced with driving, dirty distortion. The melancholy, anti-consumerism message of the original song now becomes urgent.

Towards the end of the song, where the Elton John voice-over appears, a fierce, almost metal-like riff kicks in, sounding like some of the heavier Porcupine Tree riffs. As Steven Wilson says on his YouTube channel, ‘Perhaps one for those that missed hearing the guitars in my recent music!’ It allows shows that a great song is open to multiple interpretations; both the original and the cover version are superb.

Bonus ReviewKey of Skeleton

It seems appropriate that a review of bonus tracks should include a bonus review. This is a demo track that recently appeared on streaming services as part of the Super Deluxe edition of Steven Wilson’s 2015 album Hand.Cannot.Erase. This instrumental track begins with keyboards and strings similar to those at the start of I Am The Walrus from the Beatles’ 1967 double EP Magical Mystery Tour. Muscular drums soon join in, with a pleasantly 1960s feel to the guitar. The song has that feeling of inevitability that some of the best instrumental tracks have, until it is nicely subverted towards the end when it takes a dark turn. A hidden gem in Steven Wilson’s extensive discography.

Sources:

Steven Wilson’s YouTube channel

Martin Kielty, Lonely Robot release In Floral Green video, Prog Magazine

Rob Skarin, THE FUTURE BITES: A Conversation With Steven Wilson, YouTube

Alan Watts, The Power of Space Part 4

Grant Moon, Lonely Robot: Space-themed exploration and sonic sounds, Prog Magazine

Mark Roland, An Article about Steven Wilson, Electronic Sound Magazine, Issue 73

Remixed Review – Steven Wilson B Sides and Bonus Tracks

Additional content on up-to-date media

****

The recent release of a new song by Steven Wilson, Anyone But Me is an opportunity to review some of the recent bonus material and B-sides associated with his top 5 album THE FUTURE BITES™

Update – June 2021 – the Scottish rock-band have remixed Personal Shopper, turning it into a rock anthem.

The B-Sides Collection

1 Eyewitness

Steven Wilson has often spoken about growing up in a household in which his father listened to Pink Floyd and his mother listened to the disco music of Donna Summer, and this track begins with an instrumental homage to the latter’s 1977 song ‘I Feel Love’. Both tracks open with a burst of noise, followed by sequenced synthesisers on the same note (c). But whereas Donna Summer’s disco epic runs at a fairly stately 120 bpm, Steven Wilson’s propulsive song powers along at around 150 bpm. There is an obvious debt to the classic disco of Giorgio Moroder, but Steven Wilson adds an urgent modern take to 1980s style synth-pop. As usual, the production is very imaginative – listen to the middle eight (repeated) at around 3.30 into the track, when the driving instruments drop out and there is a sudden moment of tenderness in the vocals. 

The theme of the track is one that Steven explored in detail with Porcupine Tree on their 2007 classic Fear of a Blank Planet, the failure of many people to engage with life, preferring to remain drugged up and passive, ‘Now take your meds and stay in bed/It’s all gonna happen to you anyway.’

2 In Floral Green

The first cover that Steven Wilson has released since his 2014 album Cover Version, this song was written by John Mitchell (leader of prog/pop band It Bites since 2006) and released in 2017 as part of his solo project Lonely Robot. John told Prog magazine that the song was about the loss of social connection in the modern world, and that, ‘we as a species probably need to be around a lot less drab grey and a lot more rustic green’.

Unusually, Steven Wilson approached John Mitchell for permission to use the original backing tracks for the song rather than creating his own, which is why the two versions sound very similar. Steven told Rob Skarin that, ‘it felt like my song’.

Both versions use spoken word extracts from the speeches of the British writer, Alan Watts, whose writings helped introduce Buddhism, Taoism, and Hinduism to a wider Western audience. John Mitchell told Grant Moon of Prog magazine that Watts was, ‘a great advocate of this idea of, ‘the solipsistic haze’ – that are we all a part of somebody else’s imagining, that life is a great conspiracy, a grand design, a dream.’

3 Move Like a Fever

A fiercely electronic track, uncompromising in its presentation and message, this song follows the theme of the effects of social media and empty fame on modern life that is so important on the FUTURE BITES album. The vocals are almost brutal in their delivery on lines such as, ‘The American idol/Is dead on arrival.’ Some fans have baulked at this new directness in Steven Wilson’s work, far from the loving, meticulous recreation of 1970s prog on The Raven That Refused to Sing (2013), but it is undeniably effective. As always, he moves forward in a way that is truly progressive, not worrying about alienating some of his fans whilst satisfying others and finding new ones. As he told Electronic Sound magazine, ‘I recognise that I’ve repeatedly shot myself in the foot by doing the thing that was least expected.’

4 King Ghost – Tangerine Dream Mix

A radical remix of the track from THE FUTURE BITES, over twice as long as the original, expertly done by Thorsten Quaeschning and Paul Frick, both of whom are in the current incarnation of Tangerine Dream. Although they were only a few years old during the 1970s, the period that many consider the most productive and innovative of the band, they manage to recreate a superbly authentic version of Tangerine Dream from that era. The relevant section begins around three minutes into the track, until around 7.30 when it wittily grinds to a brief halt. The Tangerine Dream section is bookended by a few minutes that take material from the original track, taking Steven Wilson’s haunting, stratospheric falsetto vocals as a theme, but never allowing the vocals to break through fully, creating a magical new track.   

Single – Anyone But Me

This gorgeous song was a very last-minute casualty of COVID-19. It was due to be released as the final track of THE FUTURE BITES. The album had even been mastered and cut, but as Steven Wilson says on his YouTube channel the delay in the album’s release caused by the pandemic gave him a chance to re-evaluate. The record was eventually released several months later but the song had been replaced with the, ‘more laid back and atmospheric’ Count Of Unease.

A demo of the song was released as part of the Limited Edition Deluxe Box Set of the album on ‘obsolete media’ (cassette; although sales of cassettes have increased recently). The song features Fyfe Dangerfield from Guillemots on lovely ELO-style backing vocals.

Single – Personal Shopper (Nile Rodgers remix)

On his YouTube channel Steven Wilson says he grew up listening to disco, including the music of Chic, featuring Nile Rodgers so, ‘it’s an absolute thrill to have Nile stamp his legendary signature sound on the track.’ This version of the song combines the European electronic pop of Giorgio Moroder with Nile Rodgers’ funky guitar, emphasising the disco elements and placing less emphasis on the pensive melancholy of the original from the FUTURE BITES album (review here).

Single – Personal Shopper Biffy Clyro Remix 

Biffy Clyro’s remix of this largely electronic song opens with a ethereal vocals and a mesmerizing drone, with a new percussion track and heavy guitars that transports the song to an unexpected world. The almost clinical disco of the original track is replaced with driving, dirty distortion. The melancholy, anti-consumerism message of the original song now becomes urgent.

Towards the end of the song, where the Elton John voice-over appears, a fierce, almost metal-like riff kicks in, sounding like some of the heavier Porcupine Tree riffs. As Steven Wilson says on his YouTube channel, ‘Perhaps one for those that missed hearing the guitars in my recent music!’ It allows shows that a great song is open to multiple interpretations; both the original and the cover version are superb.

Bonus ReviewKey of Skeleton

It seems appropriate that a review of bonus tracks should include a bonus review. This is a demo track that recently appeared on streaming services as part of the Super Deluxe edition of Steven Wilson’s 2015 album Hand.Cannot.Erase. This instrumental track begins with keyboards and strings similar to those at the start of I Am The Walrus from the Beatles’ 1967 double EP Magical Mystery Tour. Muscular drums soon join in, with a pleasantly 1960s feel to the guitar. The song has that feeling of inevitability that some of the best instrumental tracks have, until it is nicely subverted towards the end when it takes a dark turn. A hidden gem in Steven Wilson’s extensive discography.

Sources:

Steven Wilson’s YouTube channel

Martin Kielty, Lonely Robot release In Floral Green video, Prog Magazine

Rob Skarin, THE FUTURE BITES: A Conversation With Steven Wilson, YouTube

Alan Watts, The Power of Space Part 4

Grant Moon, Lonely Robot: Space-themed exploration and sonic sounds, Prog Magazine

Mark Roland, An Article about Steven Wilson, Electronic Sound Magazine, Issue 73

Album Review – Isolated Dreams by Ghost Echo

A bold and accomplished debut from the Dutch duo

****

Many lockdown albums will be released in the next few months. Some of the recent highlights include Richard Barbieri’s Under a Spell , and Steven Wilson’s The Future Bites, recorded before lockdown but released in January. Now Dutch musicians Remy de Wal and Karel Witte have recorded Isolated Dreams, their first album together as Ghost Echo, with almost all the music being made by the two musicians remotely. The album was written and recorded between March last year and February this year in their home studios. Remy and Karel exchanged demos and did all the mixing and production themselves, an impressive achievement.

The album opens with Black Era with Eighties-sounding drum machines and synths, an anthemic chorus and vocals that are slightly reminiscent of the pure tones Morten Harket of the Norwegian pop group A-ha (although without reaching his stratospheric heights). But this is not a straightforward pop song; although it starts in that style, it soon embraces an almost prog metal style with metallic guitars and screeching synth lines. It is a promising and mature start to the album, immediately demanding the listener’s attention.

Dust begins with a gorgeous keyboard motif, influenced as the band admit partly by the soundtracks to both of the Blade Runner films. The song features lo-fi trip hop beats and a lovely, introspective vocal line delivered with great emotion.

Late Night is the highlight of the album, an atmospherically dystopian tale of a man haunted by demons in the small hours of the night. The band openly acknowledge the song’s debt to the more recent electronic work of Steven Wilson, but the gorgeous harmonies in the chorus also hark back to Wilson’s earlier work with his band Porcupine Tree. The disturbing animated video, with a touch of psychedelia, was created by Tiago Araújo; it also has an indirect link to Steven Wilson in that it is similar to the work of Jess Cope in her animation for The People Who Eat Darkness from Wilson’s solo album To The Bone.

Tiago Araújo’s video is based on a script by Karel Witte

Null Void begins with a dark trip-hop soundscape and heavily compressed vocals, like the soundtrack to a bleak science fiction film, perhaps set in the dystopian near future when the planet has been devasted by some cataclysmic event and an oppressive regime has come to power. The song ends with a prog rock style epic guitar solo, and the repeated words ‘I see you watching me’, suggesting the protagonist is now living in a totalitarian state, before the track stutters to a halt.

Another stand-out track is Pitfalls which closes the album, beginning with a slow-burning ambient sound, building to another epic guitar solo, accompanied by Giorgio Moroder-style synth chords and prog metal guitar chords, with emotionally wrought vocals; a powerful climax to the album.

It is to the band’s credit that even at this early stage in their career they have sequenced an album of emotional highs and lows, and taken the listener on a journey of discovery. They even left off the song Conspiracy Leader described by the band as ‘a dark synthpop-goes-progmetal track featuring acoustic drums (!) by Kay Ketting’,  as they did not feel that it fitted into the sequencing of the album, a brave but important artistic decision so early on.

It would be hard to tell that the album was recorded in lockdown except for the reference in the title to ‘isolated’ dreams. It is an accomplished and bold debut, immediately establishing an exciting new voice, a very effective combination of pop, prog, metal and trip-hop. Apparently, they are already writing new material which provides hope for the band’s future when they can get together in person.

Ghost Echo are:

Remy de Wal – Guitars, synthesizers, programming and backing vocals

Karel Witte – Lead vocals, guitars, synthesizers and programming

Isolated Dreams is out now.

Album Review – Under A Spell by Richard Barbieri

A spell-binding journey through lockdown dreams

*****

Image credit Kscope/Richard Barbieri

It’s a strange coincidence that all four members of the prog rock band Porcupine Tree have brought out solo albums during the past few months of lockdown in the UK; first drummer Gavin Harrison released Chemical Reactions (with Antoine Fafard); in January it was guitarist and singer Steven Wilson’s turn with The Future Bites; bass player Colin Edwin followed in February with Once Only with Eternal Return. Finally, keyboard player Richard Barbieri completes the set with Under a Spell.

Of the four albums, Richard’s is the most direct reaction to lockdown, as the other three albums were largely complete before the pandemic hit. He had planned to collaborate with different musicians in several studios across the world, and had recorded some of these performances in early sessions. But he was then left to complete the album on his own in his home studio, surrounded by vintage synths and effects pedals. In strange and troubling times which were tragic for many, he was plagued by returning dreams of walking along a pathway through a wood towards a light. When he awoke, the dreams hung over him like a surreal shadow and shaped the album into what he has described as ‘this weird, self-contained dream-state album’ reacting to ‘all this strangeness going on outside’.

Richard is perhaps best-placed of any keyboard player to create a soundtrack to his lockdown dreams. By his own admission, he is not a technical, virtuosic player; he has never been known for the astonishing keyboard runs of other prog rock musicians like Rick Wakeman or Keith Emerson. His strength lies in a different kind of virtuosity, the ability to create unique and evocative sound worlds; listen to the opening of Ghosts from 40 years ago with art rock band Japan, or any of his work with Porcupine Tree.

Richard has said that the key to understanding his new album is to listen to the opening and closing tracks, the title track Under a Spell and the final track Lucid.

The opening track begins in a fairly oblique way, with gentle vibraphone from Klas Assarsson and bass from Axel Crone, as the spell begins to be cast and we enter the forest. Richard has said that the use of vibraphone here is inspired by Japanese percussionist Stomu Yamashta’s soundtrack from The Man Who Fell to Earth, Nicolas Roeg’s 1976 film starring David Bowie. In the opening scene, Bowie’s space craft lands and he is seen walking down a hill in what is, for him, an alien landscape. In a similar way, Barbieri draws us in to the alien landscape of the forest he saw in his dreams. Urgent percussion joins to create a sense of unease, with fragments of melody weaving a compelling spell. It could easily be the soundtrack to a horror film, and Richard has mentioned the 1999 film The Blair Witch Project as the surreal, deserted environment he had in mind. There is also a parallel with John Carpenter’s Lost Themes recording project; having written music for his own films, most famously the soundtrack to Halloween in 1978, Carpenter is now writing very effective music for imaginary films.

If much of the album lives in a disturbing, rather nightmarish landscape, the closing track Lucid brings some hope. It describes a ‘comforting lucid dream’ from which the listener gradually withdraws as a voice whispers ‘wake up…come back alive’. It’s a gentle, mesmeric ending with a repeated interlocking keyboard figure as we come out of the dream-state, leaving the wood as we return to the sunlight.

But the journey through the wood has not been easy. A highlight of the album is the fifth track, Serpentine which features some stunning bass playing from Percy Jones who played with the jazz fusion band Brand X (featuring a certain Phil Collins on drums). There are more vibraphone sounds but this time created by Richard himself using keyboard samples. The track describes the forest seen from the point of view of a snake (hence the track’s title) and there’s a superb 360 degree video to accompany the song, created by Miles Skarin (who also made the recent ground-breaking video for Steven Wilson’s Self). It’s worth watching the video for Serpentine to the end to see exactly where the path through the forest and across a bridge leads you…

An album written during the lockdown caused by a global pandemic could be a depressing listen, but Richard Barbieri has created an evocative, ultimately uplifting journey into his dreams, beautifully recorded with unique and enchanting soundscapes. It’s the last of a recent quartet of excellent solo albums from members of Porcupine Tree, which may leave fans of the band wondering what these four superb musicians might create if they were ever to work together again.

Chosen Spells – a selection of tracks from Under a Spell

Under a Spell is out now on Kscope.

Track list:

1. Under A Spell
2. Clockwork
3. Flare 2
4. A Star Light
5. Serpentine
6. Sleep Will Find You
7. Sketch 6
8. Darkness Will Find You
9. Lucid

Album Review – Once Only by Eternal Return

An atmospheric debut from an international progressive rock ensemble

****

Once Only by Eternal Return

Eternal Return is a new prog rock band made up of five members, based around two duos who have worked together in the past; the Australian bass player Colin Edwin (Porcupine Tree, No-Man, O.R.k.) who has often worked with the Estonian guitarist Robert Jürjendal (Toyah Wilcox, Fripp’s Crafty Guitar School); and Dogon, made up of the Miguel Noya, (Venezuelan electronic musician) and Paul Godwin (composer/singer based in California). The two duos are joined on drums by Miguel Toro (Royal Dust) who was born in Venezuela and is now based in Berlin.

Once Only was recorded in Berlin in 2019, when this new international band all descended on The Famous Gold Watch Studio (a former munitions factory and Stasi HQ). The aim was to record the whole album in a live situation, to be spontaneous in the moment with the musicians in one room together, in a time before Covid suspended international travel and face-to-face collaboration.

The theme of the album is ‘nomadism’, inspired according to the band, ‘by Noya’s status as part of Venezuelan economic and political diaspora’.

The band also cite ‘seminal progressive ambient-jazz-pop influences’ such as Talk Talk’s Spirit of Eden and David Sylvian’s solo work after he left the art-rock band Japan.

The opening track Nomad bursts in with piano and some inventive bass playing from Colin Edwin, who shines throughout the album. The song introduces the album’s theme of nomadism, with its repeated phrase ‘who am I?’ It ends with a lovely piano coda, accompanied by synths which eventually fade into the background like a nomad travelling to find a distant home.

The Void is the track which is closest to David Sylvian’s work; the gorgeous horn solo at the beginning is similar to the solos on tracks such as ‘The Ink in the Well’ and ‘Nostalgia’ from Brilliant Trees, with heart-breaking cracks. But the vocals, when they arrive, are quite different from Sylvian’s lovely, tremulous baritone or the fragile tenor of the late Mark Hollis of Talk Talk. A more valid comparison would be with the beautifully understated vocals of Tim Bowness. The track is the highlight of the album.

A Medium-Sized Village opens with atmospheric harmonics, and a whispered voice saying ‘what did you see’, which could have come from one of the later albums by Colin Edwin’s most famous previous band, Porcupine Tree. Robert Jürjendal’s intense guitar line is reminiscent of his mentor Robert Fripp. Colin’s languid, relaxed fretless bass parts run amiably below, while lively percussion completes the picture.

The Triggering Town begins with a lovely piano part, a real earworm. The theme of nomadism returns, ‘where there was a face/memories erased’. Robert Jürjendal’s quietly virtuosic guitar line provides an anxious backdrop.

The Bottom of the Pond is a livelier, largely instrumental track with distorted vocals buried deep in the mix, the climax of the album in terms of dynamics after the more contemplative feel of the earlier tracks.

The final track on the album The Sky returns to the quieter feel of the rest of the album, with richly-layered backing vocals and sparkling guitar parts; again Tim Bowness springs to mind in the vocal style. The song gathers itself and gains momentum as it builds to the album’s final climax.

The album repays careful listening as tracks which appear sparse are more multi-layered and complex than first appears. It recalls the late-night, introspective atmosphere of Talk Talk’s Spirit of Eden, which was recorded in a studio that was shrouded in darkness. So close the curtains, turn out the lights and enjoy a night-time treat.

Once Only is available now on NEWdOG Records

Album review – Chemical Reactions by Gavin Harrison and Antoine Fafard

*****

Gavin Harrison and Antoine Fafard prove that fusing jazz, rock and classical music does work

Graphic design by Antoine Fafard

In music, the words ‘fusion’ or ‘crossover’ used to a warning for any sensible music lover to run for the hills. Very fast. Musical genres such as classical, rock, pop and jazz have worked independently of each other, very successfully, for decades if not centuries, but attempting to splice their DNA together has sometimes resulted in disturbing mutations. It is therefore a pleasure to report that fusing the muscular but subtle and intelligent drumming of Gavin Harrison, and the jazz bass playing of Antoine Fafard, with a string quartet and even an orchestra, actually works.

It helps that Gavin is probably one of the best drummers in the world at present, having performed as a session musician but also as a member of Porcupine Tree and more recently King Crimson, also releasing a stunning solo album of big band arrangements Cheating the Polygraph a few years ago. To appreciate the quality of his drumming, listen to the opening of the second track on this new album, Atonic Water which begins with half-speed, laconic, almost lazy drumming which is joined by fast, buzzing strings, creating the illusion of two time frames running in parallel. Gavin has written about rhythmic illusions in the past and here he puts his theory into thrilling practice.

Antoine shows what a fine jazz bass player he is in the opening track Transmutation Circle, making fast runs high up the fretboard when he is soloing, sounding almost like a jazz guitarist at times, but also providing a solid underpinning when the music demands that he sounds more like a conventional rock player.

The first five tracks of the album, which also include Vision of a Lost Orbit, Pair of a Perfect Four and Proto Mundi feature a string quartet, made up of Maria Grig who overdubbed all the violin and viola parts and Jonathan Gerstner on cello. They bring great precision and intensity to these opening tracks. Gavin also plays marimba, helping to create a mellower vibe to balance the intensity.

The sixth track Singular Quartz adds Jerry Goodman on electric and acoustic violins, sometimes recalling the virtuosic performances of Eddie Jobson, who played violin for Frank Zappa and Roxy Music among many others.

In the last two tracks on the album Holding Back the Clock and Chemical Reactions the landscape suddenly up opens much wider, a lovely way to end an album that began with the intimate intensity of the string quartet and gradually opened out as more instruments are added. Both tracks feature the Janáček Philharmonic Orchestra conducted by Anthony Armore, recorded in Ostrava in the Czech Republic as long ago as March 2016. They have a cinematic sweep that makes a superb climax to the album. In the documentary about the making of the album, Antoine says that he wanted real players rather than samples because of the subtleties that can bring. Gavin says he had worked with sampled instruments before but enjoyed working with ‘the living breathing organic unity’ that a real orchestra can provide. You can almost sense the joy in the playing of both musicians, particularly Antoine’s inspired bass soloing in the title track Chemical Reactions, and Gavin’s passionately animated drumming around four minutes in. The track rounds off a highly satisfying album that repays repeated listening to reveal all its subtle pleasures; listen on decent speakers or headphones if you can to enjoy its riches in full.

Track list

1 Transmutation Circle

2 Atonic Water

3 Vision of a Lost Orbit

4 Pair of a Perfect Four

5 Proto Mundi

6 Singular Quartz

7 Holding Back the Clock

8 Chemical Reactions

Musicians

Gavin Harrison drums and marimba (tracks 1 – 5) drums (tracks 6 – 8)

Antoine Fafard bass (all tracks)

Maria Grig violins and viola (tracks 1 – 5)

Jonathan Gerstner cello (tracks 1 – 5)

Jerry Goodman acoustic and electric violin (track 6)

Avigail Arad Cello (track 6)

Reinaldo Ocando marimba and vibraphone (track 6)

Janáček Philharmonic Orchestra conducted by Anthony Armore (tracks 7 – 8)

Chemical Reactions is released on 11 December on the Harmonic Heresy label.

Review – iamthemorning – Counting the Ghosts

*****

A deliciously dark Christmas treat

Counting the Ghosts by iamthemorning is out on 4 December

iamthemorning are a Russian chamber prog duo consisting of Gleb Kolyadin on piano and Marjana Semkina on vocals. According to their Bandcamp web page they specialise in writing songs about ‘dead Victorian girls and premature burials’. Their last album The Bell was inspired by 19th century song cycles in the style of Schubert, and drew themes from Victorian art and culture. The title of the album referred to the safety coffin which allowed anyone who had accidentally been buried prematurely to alert those above ground by ringing a bell which

when the poor soul awoke  and  on realizing  he’s been buried alive, could ring to let the people outside know what has happened‘ (from the band’s website).

iamthemorning have also released the albums Belighted, Lighthouse and Ocean Sounds (with a DVD filmed in a studio on a remote Norwegian island), all on the Kscope label.

The duo have now released a Christmas-themed EP, Counting the Ghosts, which consists of four tracks. It was recorded in lockdown with Marjana in England, Gleb in Russia, and their sound engineer (and guitarist on this EP) in Canada.

Cradle Song, recorded in isolation

The first track I Wonder as I Wander was written in 1933 by John Jacob Niles, based on a fragment of traditional song he collected in Cherokee County, North Carolina, and published in his ‘Songs of the Hill-Folk’ in 1934. It has become a Christmas carol, and there is a lovely arrangement by John Rutter in ‘100 Carols for Choirs’ for solo voice and unaccompanied choir. The arrangement on this EP is beautiful, with Marjana’s wistful, folky vocals multi-tracked to provide the vocal harmonies, with subtle instruments coming in towards the end.

Cradle Song is the first of two songs written specially for the EP. Marjana told Prog magazine that the words are based on the poem of the same name by William Blake, which is not a Christmas poem but has in her view ‘a nice, cosy feeling’,

 Sweet dreams, form a shade
O'er my lovely infant's head!
Sweet dreams of pleasant streams
By happy, silent, moony beams!

from Songs of Innocence: A Cradle Song

Presumably she was referring to the version of the poem in Blake’s Songs of Innocence, quoted above; the poem of the same name in Songs of Experience is much more cynical about the sleeping baby,

 O the cunning wiles that creep
In thy little heart asleep!
When thy little heart doth wake,
Then the dreadful light shall break.

from Songs of Experience: A Cradle Song

The song starts gently enough, but soon takes a dark turn just over 30 seconds in , with a deliciously bleak key change, creating the sense that all is not well around the cradle, a gloomy tale to warm up Christmas around the fire like a ghost story.

The third track on the EP, Counting the Ghosts starts with ambiguous chords on the guitar and piano, immediately creating a sense of unease which is appropriate for a song that is about the ghosts of our Christmas past, and also about the people that have been lost during this tragic year. Marjana sings with fierce passion, revealing the depth of her feeling about a year that most of us would like to forget. The track ends suddenly, as if it has run out of things to say about 2020.

The final track Veni, Veni Emmanuel is a modern version of a very old carol, with Latin words that date back to around the eighth century, and a simple plainsong melody which dates back to around the twelfth or thirteenth century. Marjana sings the carol unaccompanied and in Latin, beginning with the first verse which is the melody alone and gradually adding more and more harmonies in another charming arrangement, ideally suited to her pure, crystalline voice. The heavy use of echo gives the recording a wintry feel, somehow appropriate to a singer who describes herself (on Twitter) as a ‘dead Victorian girl’.

Previous albums by iamthemorning have combined fine musicianship from Gleb with precise but soulful vocals from Marjana; there is always something deeper lurking in the shadows beneath the attractive surface of their songs. Counting the Ghosts continues in this vein, but adds a little Christmas spirit. It’s a real treat.

Counting the Ghosts is released on 4 December via Bandcamp.