Here we have the debut album from T.A.P., a multinational group of musicians who have known each other for years in one way or another, yet only recently decided to work together to create their own music. Mike Jobborn (keyboards, synth, soundscapes, drum programming), Mark Cook (Warr guitar, guitars, basses, drums, soundscapes, synths, samples, strings) and Suzi James (guitars, bass, oud, flute, percussion) play on all eight tracks while Gayle Ellett (Hammond, Moog, Mellotron) is on five and then Paul Sears and Bill Bachman add drums to one song each (although I must say the drum programming on the other tracks is much better than is often the case).
I reviewed Gayle and Mark only recently (Gayle Ellett and the Electromags), plus have known the music of Djam Karet for decades, while The Muffins (Paul Sears) is never too far away from my playlists and I reviewed the debut Fearful Symmetry (Suzi James) album a while back and Mike Jobborn and I have been FB friends for years. Knowing so many people in a band can actually be a problem at times (I am also friends with Gayle, Paul and Suzi!), as there is always the worry that if an album is not as good as one might expect how do I say that without upsetting someone? Luckily that has not happened too often, and generally we became friends in the first place because I enjoyed their work, and here we have something which is an absolute delight. There are times when the music is quite Floydian, where the instruments are blended in such a way that they rarely move above the keyboards but rather blend in to create something which is amorphic, changing and swelling as the need arises. There are others when it is more direct, but always the feeling is that this is a living and breathing stream of consciousness, something which is in motion and creating its own path as it meanders through the landscape and to fully appreciate the delights one needs to immerse oneself in the flow.
The interplay between the instruments is delicate, and there is very much the feeling this will always be a studio project just because there are so many threads being brought in and out, multiple guitars and keyboards mixing with the rhythm section, yet there are also times when people take a rest and sit back, knowing their contribution to that section of the music is not to be involved at all. This is thoughtful stuff; there has been no sense of ego or self as all those involved have put that to one side and instead have become part of a collective whole. This is not music to be played in the background but needs to be listened to on headphones when one has the time and inclination to let the rest of the world pass by. This is timeless album, and somehow feels quite modern (although wonderfully dated at times by the Hammond) yet belongs to the era when people listened to music just for its own sake as opposed to being another background noise. If that is you, then there is much here to enjoy. 8/1 Kev Rowland
Over the course of self and state-ordered quarantine during the Covid-19 pandemic in early 2020, multi-instrumentalist Juan R Leõn found time to write a short parable inspired by an article on faith and the “new normal”. Not being confident in his own singing abilities, Juan reached out to friend and poet Corey Stano to provide the vocal performance on “The Rhino And The Oxpecker”, which is the opening track on this release. I noticed this album was indicated as being a deluxe edition, so wondered what else was available and I note that SATL independently released an album of the same name in 2020, but that is all I know about it, so cannot state if this contains the same recordings/songs or if it has been dramatically altered. What I do know is that I am incredibly pleased that Nick Katona has seen fit to sign the band to MRR as this is an intriguing release from beginning to end.
I have long been a fan of Hibernal and the way that Mark seamlessly blends his music with wonderful science fiction worlds, and in some ways what we have here is a sister project to that as Corey tells stories while Juan provides a soundscape using his skills as a bassist/stickest (he also plays American Flute). We also get some additional dialogue where it makes sense, with Winston Churchill’s words being instantly recognisable, all of which builds layers on layers of gossamer threads so that while none of it feels oppressive the result is a very strong structure indeed. As a poet, Corey is obviously used to giving performances of her own work and her presence is wonderful, so much so that one does not even notice she is not singing, as it fits so well with the musical scaffold being built. Juan can play delicately at times, allowing the ambience to build, but there are others where he shows just how adept he is at different styles, providing complex note density.
This is a wonderfully fresh and exciting piece of work as it is so out of the norm and quite different to what we normally expect to hear. It is definitely a partnership in that there is just the right balance between vocal and musical leads, while the music enhances the words and vice versa. There are messages within the music so that when it finishes one can be found contemplating what has been played, with the result being something which is difficult to truly describe but very easy indeed to get lost inside and enjoy. 8/10 Kev Rowland
It would take ages to list all the bands and musicians Colin has been involved with in the last 50+ years, but many will recognise his name from being co-founder of Flash with Peter Banks. Five years on from his debut as a solo artist, ‘One’, he is now back with this five-track release which is just under 30 minutes in length. Colin provides lead and harmony vocals, drum programming, bass, keyboards and guitar while he also worked long distance with George Keller who added guitar and more guitar. Colin’s vocals still have plenty of range, and it is difficult to realise he was in his seventies when this was recorded, having been born just a few hours after Peter Banks in 1947.
This does not sound like an album of today, nor does it sound British, which is probably not a surprise given that Colin has been living in the States for more than 40 years now. It feels like a late Seventies commercial mild rock album, of which there appeared to be many back then. There is not really enough of an edge, but just enough to give the album some presence, and while the drum machine is obviously not as good as the real thing it is not too obtrusive in this instance. The result is something which is mostly middle of the road and quite forgettable, but there are some instances (such as on “Night Vision Number 2”) where things start to come to life as the music moves more in a power pop direction. Would I play this in preference to the first two Flash albums? No, and having written about it I cannot imagine playing it again, yet while it is on this is a pleasant listen and I am sure there are plenty of people out there who will be surprised to know Colin is still going and will be intrigued enough to give this a try.
Norwegian Rock outfit LEPROUS are pleased to announce the coming of their new, 8th studio album entitled “Melodies Of Atonement” to be released in August via InsideOutMusic worldwide.
LEPROUS checked in with the following comment about “Melodies Of Atonement”: “’Melodies of Atonement’ is the name of our new album and like every band on earth thinks about their new album, we feel like it’s our best one so far! But in this case, it happens to be true…The orchestral elements are gone, which gives more space for each individual band member to shine. It’s straight to the point, and heavier than what we’ve been in a while…It’s a new sound. But it’s still Leprous. We can’t wait for you to hear it!”
LEPROUS recorded “Melodies Of Atonement” across the last months with David Castillo at Ghost Ward Studios in Sweden, while mixing with Adam Noble (Placebo, Biffy Clyro, Nothing But Thieves, etc.) and mastering with Robin Schmidt (The 1975, Placebo, The Gaslight Anthem, etc.). The album’s front cover artwork (To be seen below!) was created based on photography by John Dolan and design by Ritxi Ostáriz.
Further details and information about the new album as well as its first single will be made available soon…
But in the meantime, LEPROUS can already announce a first North American headline tour with special guests Monuments and supports Fight The Fight for September and October 2024.
LEPROUS comment about their return to North America as follows: “We can’t wait to tour North America again together with our good friends in Monuments and Fight The Fight. It’s been too long and we’re super eager to come back!”
LEPROUS, Monuments & Fight The Fight “Melodies Of Atonement” US 2024 Tour 09/04 – Nashville, TN – Eastside Bowl 09/05 – Atlanta, GA – Progpower USA 09/06 – Charlotte, NC – The Underground 09/07 – Baltimore, MD – Rams Head Live! 09/08 – Mckees Rocks, PA – Roxian Theatre 09/10 – Buffalo, NY – Town Ballroom 09/11 – Toronto, ON – The Opera House 09/12 – Montreal, QC – Beanfield Theatre 09/13 – New York, NY – Webster Hall 09/14 – Cambridge, MA – The Sinclair 09/15 – Philadelphia, PA – Union Transfer 09/17 – Pontiac, MI – The Crofoot Ballroom 09/18 – Cleveland, OH – House of Blues 09/19 – Chicago, IL – Metro 09/20 – Madison, WI – Majestic Theatre 09/21 – Minneapolis, MN – The Lyric at Skyway Theatre 09/23 – Englewood, CO – Gothic Theatre 09/24 – Salt Lake City, UT – Soundwell 09/26 – San Francisco, CA – August Hall 09/27 – Anaheim, CA – House of Blues 09/28 – Mesa, AZ – The Nile Theatre Underground 09/30 – Dallas, TX – Granada Theater 10/01 – Austin, TX – Mohawk 10/02 – Houston, TX – White Oak Music Hall 10/04 – Orlando, FL – The Plaza Live 10/05 – Fort Lauderdale, FL – Revolution
Other upcoming international shows by LEPROUS are as follows:
LEPROUS – Live 2024: 23.05.2024 Hammamet (Tunisia) – Mena Rock Festival 07.06.2024 Gdansk (Poland) – Mystic Festival 14.06.2024 Zamora (Spain) – Z!Live Rock Fest 15.06.2024 Tomar (Portugal) – Comendatio Music Fest 03.07.2024 Athens (Greece) – Rockwave Nights / Lycabettus Theater 05.07.2024 Joensuu (Finland) – Ilovaariock 11.07.2024 Brønnøysund (Norway) – Rootsfestivalen 28.07.2024 Manchester (UK) – Radar Festival 03.08.2024 Brasov (Romania) – Rockstadt Extreme Fest And more shows to be announced soon…
LEPROUS – “Melodies Of Atonement” Cover Artwork
LEPROUS line-up: Einar Solberg – vocals/keys Tor Oddmund Suhrke – guitars Robin Ognedal – guitars Simen Børven – bass Baard Kolstad – drums
Recorded in 2016, “Powertron” has languished in the Bill Nelson archives for eight years.
A potent collection of twelve pieces that highlight Nelson’s prowess and invention as a guitarist.
“Its genesis came whilst recording tracks for ‘The Jewel’ album. Amongst these was a track titled ‘Drive Shaft’ which I considered too brash for ‘The Jewel’, but too good to abandon. I decided to create a suitable album to house ‘Drive Shaft’ and ‘Powertron’ was the result. It’s an album of left-field rock songs, mainly vocal but layered with loud and edgy guitars. It will appeal to those who enjoy the wilder side of my work.” – Bill Nelson
Track list: 01) Fascinating Noise 02) A River On The Edge Of Time 03) Dreams And Smoke (Flow With The River) 04) The Moon Came In My Window 05) Where’s The Wonder? 06) Loose Chippings 07) When I Don’t Feel Blue 08) Moments In The Day 09) Fair Winds And Steam Machines 10) Sailing My Boat 11) Laughing Sailors, Raging Seas 12) Drive Shaft
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