Freedom 2 Glide are a two man outfit that stem from out of a Pink Floyd tribute band called Darkside Of The Wall. It is made up of Andy Nixon and Pete Riley. With a handful of EP’s and the first two in a trilogy of albums, RAIN and FALL under their belts, Freedom 2 Glide have set themselves up pretty well as a formidable band. Their current offering in the planned trilogy about life between both World War I and World War 2 have certainly cemented the band in the progressive rock community as concept specialists.
As I had to go back and listen to RAIN on their Bandcamp page as well as FALL which the band provided for me to do this review, I must say you have to have both to really notice where the story is going. Meanwhile we wait for the third and final in this trilogy. The emphasis and focus to this review however will be solely on FALL.
FALL is the second in the continuation of the trilogy. FALL is also a common themed or a thematic concept album where there is not a deliberate intro and concluding outro. FALL is 13 tracks that speak about various stories that are somehow tied to both World War 1 & World War 2 . With FALL the band has dug a little deeper and have taken a much more atmospheric approach to the song structure. The band has a uncanny ability of folk storytelling with a modern progressive rock element.
Throughout FALL , Freedom 2 Glide have recorded with such clarity that every note is allowed to breathe and every lyric is able to be understood. It is like that from Track #1 – Fall to Track#13 October. Throughout the album the band utilizes the musical notes to convey as much emotion , matching each lyrical syllable to project that emotion with a very serious harmonious clarity. The stringed section runs very concurrent with the rhythm section instrumentally while the lyrical quality maintains its very integrity.
Although the guys play most the time in the Pink Floyd tribute Darkside of the Wall, make no mistake about this, they have their own unique quality and distinctive sound and never use the ‘Floydian Influence‘ to run through the Freedom 2 Glide recording process. This album and the band’s sound command a objective mindset and a open soul to comprehend the melodic value of this album and band on their own merits. I have chosen not to go into a track to track analysis on this album review because it would not do it much justice. Freedom 2 Glide’s FALL must be consumed in its entirety like its Part #1 companion RAIN to truly grasp the story and narrative as a collective. Both RAIN and FALL are 2 multi tracked one hour plus epics with how easily the tracks run concurrent with one another.
On its own individual merit, I give Freedom 2 Glide’s FALL a 4/5 for it unique quality and easy listening experience. It will be interesting to hear how they conclude this trilogy.
Thank You Scientist are a band that come along once in a generation and shatters any preconceived notion of how progressive rock should be made. Their newest album in 2016 Stranger Heads Prevail proves that there are still more frontiers of progressive rock to explore. Thank You Scientist certainly refuse to be pigeonholed with the stereotypical cliche`s that seem to be branded on progressive rock.
Thank You Scientist brings several dynamics to the table. They bring traditional progressive rock, acid jazz, avant garde, some 1940’s big band and even film score soundtrack. Somehow and in some way the band manages to utilize all these genres and more. In the band itself, they present three very distinct and present dimensions. First of all there is the typical progressive rock rhythm section, then there is the multi layered string section of keyboards, guitars and even violin. The last dimension they present is a refined horned section of both trumpet and saxophone present. It is as if they place that all in a audio blender and engineer a soundscape of sheer melodic and harmonic bliss.
Stranger Heads Prevail proves that anything and everything can happen in progressive rock. It is a album that even the most critical reviewer or progressive rock collector can easily acquire a audio pallet if the album is approached with a really open mind and some serious patient time to absorb the many dimensions presented on the album. It is a album that also commands every audio sense of the listener to really begin to appreciate the album. The band certainly knows how to hit every audio nerve in both ears and in the theater of the mind of the listener. Now I am going to discuss some highlights to every track on the 11 track piece.
Prologue: A Faint Applause begins as a melodic handshake for two people that are about to have a conversation. They approach this by tight vocal harmony meshed with the complex instrumental. This track has a well engineered segue into the next track on the album The Somnambulist.
The Somnambulist starts out as if a 1970’s progressive rock band went back to the 1940’s Big Band era recruited a saxophone and trumpet player. They then return to the year 2016. There is so much going on in the intro. You have the full horned section, full stringed section and the rhythm section as tight in melody and harmony as it gets. The drums play on a off time progression however maintaining the integrity of the instrumental melody in harmony with the vocals. The guitars seem to have a slight metal edge to them as well. There are some very warm vocal harmonies as well. This segue’s nicely into the next track Caverns.
Caverns opens up with a 6 string guitar shred fest that is also running side by side with the horned section. This allows for depth and a unique distinctive sound to emerge. In the first minute or two the rhythmic section of drums/bass is very thunderous while the horned and stringed sections interchange in and out of multiple time signatures and passages. The fact that the band are never predictable really works in their favour. There are many hooks and chords like a winding road. You will find a lot of this executed throughout the album. There is a delightful guitar solo towards the end of Caverns. This leads into their next track titled Mr. Invisible .
Mr. Invisible opens up with a Steely Dan style horned section. I feel like I am listening to Aja. The track soon takes a very alternative progressive passage. With a tight instrumental section the band starts to really expand their range of vocal harmonies between the lead vocal and backing vocals. From there it is a full on progressive jazz rock track taking various time signatures and turns. Once again the listener has no time for boredom. The band manages to keep all audio and psychological progressions allowing for the listener to remain busy in those internal channels. There is even a jazz funk passage towards the end. This leads into the next track A Wolf in Cheap Clothing .
A Wolf in Cheap Clothing begins with a beautiful harmony between keyboard and the horned section. Soon they drop off and the drum/bass rhythm section perfectly compliments the vocal in harmony. This track takes a very early Chicago style especially with 25 or 6 to 4 . The band even perform with a illusion of sounding djent while not crossing that line. Like the rest of the album, this track certainly has its fair share of various hooks and signatures. This leads into the next track Blue Automatic.
Blue Automatic begins with a thunderous rhythmic melody that stands quite well in harmony with the vocal. The rhythm section sounds like a more traditional progressive rock track. The horned and stringed section are utilized tightly as to continue with the bands very unique and distinctive sounds. The harmony in the vocals is very spot on with every other of the six other instruments. This track continues the series of assets that Stranger Heads Prevail bring to the table. The end if this leads the way wonderfully to the following track Need More Input.
Need More Input begins with a deep tuned down bass intro matched by the guitar and drums. Soon the horned and other portions of the stringed section create such vivid melodic atmospheres where the warm vocals can easily take the track on a mini journey. About the 1:00 mark the entire track explodes into a almost jazz metal fusion atmosphere. At the 2:26 mark the track settles down and the story continues. When they go up tempo from here it is not as overwhelming to the listener as the first time in the track itself. The rest of the track takes on very traditional progressive hard rock with a horned section blended in with it. This leads into the next track Rube Goldberg Variations.
Rube Goldberg Variations begins totally as a old school jazz standard that soon progresses to a very jazz based. It continues and weaves in and out of several time signatures and progressions. It is a semi instrumental that is met by a choral vocal section towards the end. This leads right into the following track Psychopomp.
Psychopomp begins as if the listener is transported to a vacation island resort in The Caribbean or French Riviera. It has a heavy percussion in the beginning . This is one of the more aggressive and heavier tracks on the album. It is also one one the most melodic in the vocal harmony. Once again the band goes into new frontiers and territory that is not currently present among their peers today. The guitar solo is very much in the vein of Steve Vai. The horned section even presents a dynamic along with the guitar solo. There lies in a very strange spoken word narrative towards the end. The spoken word narrative is some out of science fiction like Carl Sagan or Rod Sterling with the Twilight Zone or even vintage Art Bell from the long running Coast to Coast AM overnight syndicated show. This leads into the next track titled The Amateur Arsonist’s Handbook.
The Amateur Arsonist’s Handbook begins as a straight away progressive jazz rock intro. This track tightens up the entire project. Melodically it is a summary of everything the band used in the crafting of the album. This also allows both regular fans of the band to newcomers like myself to really absorb what I just experienced over the duration of the last hour or so. This leads to the final track …. Epilogue: And the Clever Depart.
…..Epilogue: And the Clever Depart ends the album with a really intelligent barbershop quartet singing with a slight and modest jazz atmospheric passage.
Thanks to Ian Beabout and his show Prog Rock Deep Cuts With Ian Beabout at House of Prog for the introduction to this great pioneering band. Yes I said pioneering, they opened another door in progressive rock, what that door is well that is remained to be seen. Thank You Scientist have brought back some serious intelligent progressive rock that has seemed to of been lost over the years since Robert Fripp of King Crimson, Jon Anderson ex- Yes and Peter Gabriel. They allow for no complacent listening or close minded preconceived typical stereotypical notions that sometimes plague progressive rock. Thank You Scientist Stranger Heads Prevail gets a strong 5/5. This is also serious Album of 2016 material as well.
Release Year: 2016 Country: United Kingdom Genre: Progressive Rock
Band Members
Paul Ford – Vocals/Acoustic Guitars Rob Wilsher – Keyboards & Programming Aedan Neale – Electric & Acoustic Guitars Kyle Jones – Bass Guitar Jordan Neale – Drums & Percussion
In 1985 a UK based neo-symphonic prog band Multi Story released a album titled East West. This would be followed up in 1987 with a album titled Through Your Eyes. After the release of 18987’s Through Your Eyes the band either intentionally or unintentionally went their separate ways. For those of you that were not around in the 1980’s or need a refresher course, the 1980’s was very brutal on solid progressive rock.
Glam Metal/Pop Metal,New Wave and AOR had all replaced solid progressive rock. There was also a thing called MTV and many of the Prog pioneers of the late 1960’s through the 1970’s really were not image ready for the new televised musical platform. Bands like Yes & Asia had to literally go a more AOR route while Genesis and Peter Gabriel went more pop or World Music routes. Sure their were Marillion , IQ and Pallas who made attempts to carry prog in the 1980’s however to no real avail. Personal speculation here believes factors like I mentioned above could of influence towards to almost three decades long hiatus.
Whatever the case was, the band are back and sound as refreshed and rested as ever. 2016 marks the year of Multi Story’s comeback offering Crimson Stone. It is as if the band were never out of action due to how Crimson Stone was written, recorded, engineered, produced and mastered. The band have taken time and paid attention to every detail they could possible. Crimson Stone is no bombastic over the top symphonic album. It is a album that allows for the listener to breath and hear 8 individual stories/tracks.
Throughout the entire album from the first song Murmuration to the last and titled track Crimson Stone the band’s unity is definitely beyond measure as far as tightness and orchestration are concerned. Where some bands in the neo progressive symphonic rock feel the need to go over the top, Multi Story have a more minimal less is more approach. Both progressive rock or even classic rock fans can find a little something they enjoy. This is yet another album the listener must approach with a open objectivity to really get something from Multi Story’s Crimson Stone.
Whether it is Paul Ford’s signature vocals that are like Peter Gabriel meets Fish of Marillion, to Kyle Jones channeling his inner Chris Squire on bass and Aedan Neale on guitar sounding like a cross of Walter Becker of Steely Dan meets Robert Fripp of King Crimson there is soundscapes galore. These soundscapes are topped off by Rob Wilsher on keyboards and Jordan Neale on drums. Now normally I would do a break down and a track by track analysis. However this time I have chosen not to. There are two tracks from the You Tube Channel plus other links I provided in the top of this review. I want to potential fan, cynical personality and critic alike to discover the greatness as I did in my discovery.
Multi Story’s Crimson Stone gets a 4.25/5 for returning as if they never left and still had their pulse on the prog rock community in general.
Phil Brown: (Counterparts UK) Acoustic Guitar, Electric Guitar Steve Grocott (Ten) Electric Guitar Karen Fell: (Gary Hughes Band) Vocals Dan Mitchell: (Formerly of Ten) Electric Guitar John Power: (Counterparts UK) Bass and Fretless Bass Guitar, Acoustic Guitar, Electric Guitar, & Violin Dann RosIngana: Electric Guitar Alan Taylor: (Nth Ascension) Vocals, Acoustic Guitar, Electric Guitar Gavin Walker: (Nth Ascension) Bass Guitar Martin Walker: (Nth Ascension) Electric Guitar
From the very inception of the origins of the Earth, their have been two constant necessities to support life on Earth that being time and water. For Darrel Treece-Birch (keyboardist of TEN), to take the risk and creating a progressive conceptual album articulating this was a courageous move. Both time and water are mankind’s most precious resources. In his new conceptual album No More Time, Darrel Treece-Birch along with a all star line up try to convey this message both instrumentally and lyrically.
Darrel Treece-Birch’s No More Time takes you on a journey of emotions that both progressive rock purists and even hard rock, heavy metal and AOR purists have a little something they can enjoy on the album. With 15 tracks on the album Darrel Treece- Birch reflects a different perspective on the water we use on the Earth and how time also factors into our usage of this most precious resource. His all star line up has certainly done a great job embracing his vision on this album and conveying it to his targeted audience.
Starting with the first track Nexus Pt1 the album opens up with such a ambient backdrop with a spoken word narrative to set up the story that is about to be No More Time. Then the album smoothly segue’s into Earthbound.
Earthbound is a full instrumental that simulates a story of how water actually got to Earth to begin with. This is demonstrated with great atmospheric keyboards in harmony with atmospheric guitar solo’s throughout the track. This is followed by another instrumental track titled Riding The Waves.
Riding The Waves is a more up tempo track with more layered keyboards and guitars that are matched in unison with a solid and fluid rhythm section. This is also another instrumental on the album that requires a open and objective mind. Riding The Waves continues to paint the picture on the tapestry of the canvas mind of the listener. This sounds much like that of a film score soundtrack the way it is written. It is also ethereal in scope. This leads into the next track Hold On.
Hold On begins with a warm piano passage that is soon followed by a warm vocal melody. It appears almost as a ballad. The lyrical content takes a deep internal direction. It is as if a mentor is mentoring his student. It has many AOR hallmarks especially from AOR ballads past particularly in the 1980’s however with a modern sensibility. This is now followed by the next track on this epic journey Requiem Pro Caris.
Requiem Pro Caris is another warm piano intro driven track. It is as if the piano are simulating raindrops while the spoken word narrative continues with the journey. This leads into the next track Twilight.
Twilight is another beautifully crafted track that is very heavy on the piano. It gives the listener the effect that Darrel is in a small venue giving a show in a more intimate setting. He manages to do this both on the instrumental side and lyrical side. Deep piano tones and vocal tones are the backbone to this one. This leads into the next track Mother (Olive’s Song).
Mother (Olive’s Song) continues with the warm piano passages drawing the listener more and more inside the epic. The piano passage reflects that of a symphony solo passage in a old theater. Soon more modern keyboard atmospheres are layered upon the existing piano passages. This is also performed rather on the darker side. This is another of many instrumentals on the album. This leads beautifully into the next track Freedom Paradigm.
Freedom Paradigm begins with some up tempo percussion rhythm section. Soon this is followed up with a almost climatic heavy metal styled soundtrack. It is loaded with very powerful progressive metal fusion style solo’s throughout the entire instrumental track. This track gives the listener the appearance that the epic has reached a climax. This not before the next track Nexus Pt3 .
Nexus Pt.3 is another well crafted keyboard led passage that is perfectly complimented by a spoken word narrative. It is a little lighter for the listener to digest. This leads into the next track in the epic The River Dream.
The River Dream is a wonderful track that is a instrumental however is written in such away that the listener starts to reflect more and more on the overall epic journey of the concept rather than the individual tracks. The River Dream starts to allow the album to really come together and gel in the album as a collective. This leads right into the title track of the album No More Time.
No More Time begins with a warm melodic touch with warm vocals. Lyrically it appears there is a end of a era. The instrumental portion certainly matches this. The track takes a up tempo harder rock edge as if time is now moving forward. The harmonies are spot on. The harmony between the vocal and instrumental are full of emotion throughout the track. The guitar solo’s are much more AOR leaning, however the track remains on its objective. There are progressive time signatures within the solo’s giving this track a depth a fullness. This leads into the next track Legacy.
Legacy starts off with some lush atmospheric percussion and keyboard effects. The heavy guitar is not that far behind. This has a very Pink Floyd styled atmospheric vibe. All the instrumental pieces appear to running very balanced with one another. The instrumental works more like a vocal harmony telling a story all its own. This leads into Music of the Spheres.
Music of the Spheres opens up with a wonderful feminine touch to the album with a very present female vocal. The piano is warm yet haunting in its nature on this one. Lyrically this song questions many things in life. The track picks up somewhat at the 2:00 mark. The instrumental certainly matches the lyrical content on this one. This reaches the emotional apex of the epic journey of No More Time. There is also a neo progressive styled solo section towards the middle. This leads into the final track Return To The Nexus.
Return To The Nexus begins with a progressive electronic and ambient intro. Its atmospheres are almost in the vein of Peter Gabriel’s This Is The Picture (Excellent Birds) from his SO album. All the hallmarks of ambient, progressive, electronica and AOR from the album are present on this one. Return To The Nexus is written and arranged very appropriately to have all styles on the album present. Some of it even has a Kraftwerk influence behind it.
Darrel Treece – Birch has created a concept of grace and intimacy. No More Time is one of those albums that will certainly find a audience outside of the progressive rock community. This album is certainly among those albums that will continue the posterity of progressive music as a collective. I do see this album influencing future generations whether they be progressive, ambient or AOR music minded. This will get a 5/5 and have a place in my Top 10 of 2016.
Label: Independent Release Year: 2016 Country: USA Genre: Progressive Hard Rock
Band Members
Chris Rudolf – Guitars/Vocals/Keyboards/Midi Pedals Stevie Williams – Bass Guitar & Keyboards Steve Lauer – Drums & Vocals Ron Murvihill – Keyboards/Vocals & Flute.
Some bands require many years together to practice, rehearse and gel together before they even darken the doors of a recording studio. On top that they also need some significant time together playing live to find out what works and what needs improvement. Portland Oregon’s own Timelight have certainly shattered all those beliefs. I am not saying that they do not get together and rehearse, practice or spend time forming their unique progressive hard rock sound.
Formed only in 2012, Timelight have certainly have come together with the cohesive vision of a band that has been around 20 to 25 years. Their 2016 self titled debut Timelight Timelight certainly confirms all that. From the very first spin of their independent debut I have been hooked with bewilderment and awe of how tight the band’s sound is for being together for such a short four year period of time. These four guys are either musical veterans or just four men with one solid cohesive vision on what a progressive hard rock band should sound like.
I have heard many independent self financed debuts from many bands over the years and Timelight’s self titled debut is certainly one of the more professional and cleaner sounding albums I have heard in that fashion. To be brutally honest I believe this debut album is well worth any progressive rock label to give this band a chance with a record deal. Timelight’s self titled debut may only have five songs however as in the prog rock spirit the album gives you almost a full hour of beautiful progressive hard rock. Now a breakdown and some highlights from each track from Timelight’s self titled debut.
The Law Of Identity begins a straight away charging high powered rhythmic passage of drums/bass and rhythm guitar. It borders between a progressive hard rock to a progressive metal passage. Soon the keyboards come in and give the track a slight melodic accent. When the vocal finally enters in, it does not overwhelm the listener it rather allows some breathing space for the listener to get into both halves of the band, instrumentally and harmonically.
At the 3:30 mark the track takes a small break where the band feature a more choral side with the vocal harmonies. The rhythm section remains insane and a vital and important focal point throughout the track. The keyboards bring in melodic accent at some key appropriate times. At the 6:28 mark the track takes on a beautiful acoustic guitar lead atmosphere. The vocals remain warm and inviting throughout the track. At times the bass work reminds me very much of early Yes’ Chris Squire. Towards the 10:00 mark the band finally opens up more and allows a more heavier yet atmospheric sound to come forth. The band soon displays the hallmarks and time signatures that make this a progressive rock album.
Genomes the shortest song on the album, begins with a beautiful rolling rhythm section that is followed by great vocal harmonies. You can notice the tight progressions and passages that the band are capable of executing. The way the tracking on the guitars is gives the listener the appearance that they are speaking at one another. The keyboards have a more neo progressive atmosphere to compliment the rhythm sections. The band also really focuses greatly on song structure on Genomes .
Mountain Trilogy starts out with a beautiful piano melody that is soon accompanied by the drums. The vocals and harmonies soon enter in with warmth again. The band clearly are about giving the listener enough without totally overwhelming them to lose their attention. The piano is definitely the background and melodic focus on this track allowing the listener to remain within in the album with anticipation. Mountain Trilogy is a very traditionally progressive minded track that will appeal to progressive purists meanwhile introducing a outsider to true traditional progressive rock.
Normalcy Blindness opens up with a lush layered acoustic guitar passage. The vocals soon wrap around and embrace the acoustical passage lyrically. The background harmony soon appears. The unsung hero anchoring the intro here is the flute. The flute adds great depth to the intro before the track takes a RUSH Hemispheres style straight away rock direction. This track seems like two songs gently and subtly crafted into one symphonic piece. It shares a mellow side as well as a harder edge side however the band does not take the listener off into a tangent where they lose their attention. This is the second epic on the album clocking in at 14:44. The solo’s have a very traditional 1970’s style with the modern progressive sensibilities of 2016. This track blends the generations of progressive rock together very well.
Tell Us What You Love begins with a thick rich rhythm section layer. The bass carrying the intro before the keyboards, drums and guitar come in harmony with the vocal. The instrumental is a really compliment to the lyrical portion allowing for the story to be told. The guitar solo’s give this a depth in the atmospheric quality allowing the listener to digest the entire album as a collective.
For a independent band, Timelight have certainly built a solid foundation towards future work in a career. I believe with the right promotion Timelight’s self titled debut here will find its audience whether a vast audience or a niche. For a band who self financed this and released it independently they did a great work here. This album will be a heavy contender for my New Independent Release of 2016. This album gets 5/5 for its cohesiveness and vision.
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