Paul Kirkpatrick, under his pseudonym Paul K, is a British composer, producer, musician and songwriter who is also known for being one half of the electro-rock duo Glitch Code. Here he is combining electronic music with strings, samples, fretless bass, electric and acoustic guitars and even uses real drums! The Fermi paradox, named after Italian-American physicist Enrico Fermi, is the apparent contradiction between the lack of evidence for extra-terrestrial civilizations and estimates for their probability. Paul says the album itself “explores themes of isolation, whether that be digital isolation through omnipresent social media on planet earth, or further afield into the surrounding unknown”. In addition to the music he has also sourced some audio files, “So I have Joe Silk and Mario Livio, the famous Oxford Professors, discussing the Fermi Paradox based on Enrico Fermi’s famous quote “So where is everybody?”, in relation to alien life and I have Frank Drake from SETI (Search for extra-terrestrial Intelligence ) talking about the Drake Equation which he developed in the 1960s to determine how many intelligent civilizations there should be in just our universe.” If that isn’t enough he also has a reading of a poem by the famous holocaust poet Abraham Sutzkever.
This may lead one to think that this is a difficult album to listen to, filled with complex theories and discussions, but nothing could be further from the truth as it is so easy to listen to and get involved with. I can imagine this would be the perfect music to listen to when down at Aoraki Mackenzie International Dark Sky Reserve (google it), laid back in the hammocks and letting the light from the stars fall into our eyes and minds. The famous quote from Kennedy comes in (“We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard”) and fades out so we hear the Apollo lift off in the background. But instead of being music for a film track, it is the words and speeches here which give the support to the music, assisting us in finding the path as we travel along the journey being described for us by Paul.
Reminiscent at times of both Vangelis and Tangerine Dream, this music has more electric guitar than either, while the bass is probably the single most important instrument in terms of grounding the music. This is not an album to just dip in and out of, and certainly not one to shuffle (for which there is never any excuse by the way), as it builds through its course. It is an album to be played at night, a good spirit or pinot noir to hand, and just let the music take you to places far beyond your ken. Superb.
’m guessing it must be 20 years since I last reviewed an album by Paul, but here he is with his 20th album in a forty-year musical career. Somewhat strangely this was actually completed as long ago as 2016 but was shelved at the time by the record label, but he recently revisited it and removed four songs and replaced them with four home demos of newer material. Munster’s buffs will, of course, recognize the address as being the home of Herman, Lily and their family, and Paul said he used the address as for him it is so reminiscent of the Sixties which is the feel he was trying to get with this album. I must say that for the most part he absolutely nails it, although there are times when he also veers into Rocky Horror territory which was slightly later, given that was also looking back in time perhaps he can be forgiven.
We have pop, psychedelia, Beatles, garage punk and surf all mixed together with Paul’s somewhat twisted and dark sense of humor, and the only thing to do is to sit down and settle in for what will undoubtedly be an incredibly interesting ride. I am sure the Clash frontman would be smiling if he could hear “Joe Strummer Said”, while my favorite has to be “Won’t Go Surfin’ No More” which has strummed acoustic guitar and picked electric guitar in a way very similar to many songs from the surf genre. Although his punk style sneering vocals are more Joey Ramone than Brian Wilson, and I am sure the Beach Boys never had a song as bleak as this. Here we have 13 songs which are a solid slab of Sixties nostalgia, but the far dirtier and menacing side. His use of organ as opposed to synthesizers along with over-driven and distorted guitars makes this a garage classic which should have been released more than 50 years ago. Paul released his first album as long ago as 1980 and is showing no sign whatsoever of slowing down, and for fans of the genre, this is well worth investigating.
Many years ago I bought a copy of ‘M.U. – The Bets of Jethro Tull’ but was extremely aggravated by having to do so. The reason was that at the time I was an avid Tull fan, and was annoyed that there was one song on the collection which wasn’t available elsewhere, “Rainbow Blues”. Now, I would have bought it anyway, but this really irked me (and still does, forty years later!). Now, there have recently been anniversary reissues of the three Phenomena albums, all with loads of information and really well presented, and here we now have an anthology. Given the title, I expected to find songs taken from the three albums, and while that is indeed the case we also have other songs which are either rare or previously unreleased. Although details are provided on who played what, there is no information as to where each song has been sourced from, and it is only because I have the other releases that I know something about the project.
It feels like an opportunity lost, as there are undoubtedly some fine songs on here including of course “Did It For All Love” which features great vocals from John Wetton and could have easily have come from the debut Asia album (it actually comes from ‘Phenomena II – Dream Runner’). I am somewhat confused as to who this is aimed at, as anyone who already has the other albums will be somewhat annoyed the few additional songs weren’t added onto the original sets (the longest of which is just 46 minutes), but anyone coming to the project without knowing those has no information whatsoever to explain what is happening.
All of this takes away from what is essentially an interesting collection of Eighties style melodic rock numbers featuring some real heavyweights of the genre. Glenn Hughes may not have been singing at his best back then, but his voice even when stressed is so much than many singers can ever manage, while Neil Murray is such a professional he probably has no idea how many albums he has played on, while Cozy Powell performed on one or two as well. “Hearts On Fire” is singalong anthemic fun, as are many of the others, but it would be better to pick up the other reissues and then come to this if you really need the additional material. Still a nice album though, just not well thought out.
The debut album by American band Potter’s Daughter was released towards the end of 2018, but I only came across it a few months ago, since when I have been trying to work out exactly how I can describe it. The band was formed when Dyanne Potter Voegtlin (piano, keyboards, vocals) was studying classical piano performance at the Manhattan School of Music. She wanted to find a way to combine her knowledge of classical theory and virtuosity with the freedom and innovation of jazz, creating something that in many ways is quite different from the rest of the scene. The very first time I heard this I felt there was a kinship with Renaissance, and I can’t be the only one as since the release of this album the band has collaborated with Annie Haslam on a single, “Blood and Water”. Dyanne has performed both as a classical pianist and a singer/songwriter in venues as prestigious as Carnegie Hall, so she was always going to look for the right musicians to fulfill her dream and she found them in Amit Chatterjee (guitar, bass, arranger, producer), Ian C. Voegtlin (guitar, EWI), Walter Sitz (drums) and Randy Crafton (percussion).
Musically the album is based around the piano and vocals of Dyanne as she works on bridging that gap between classical and jazz, with the use of space being a very important part of her armory. At times her voice is solo, at others, it is multi-tracked harmonies, and there are times when she is singing just against percussion with no other melodies around. However, it isn’t possible to overstate the importance of Amit to the overall sound as there are times when the guitar is subdued and actually non-existent and others when there are strident solos breaking through and over her voice while the bass is always warm and comforting.
There are times when this feels very much like a jazz album that is being taken in new directions, with “Memento” being an obvious example. However, it is on the softer side, with the piano often using sustain as opposed to the short staccato liked by many, while the lead guitar also takes on many forms, moving from sounds associated with jazz into fusion and then more into rock and prog. This is a band that are truly progressive, melding the forms to make something which is relaxed and laid back yet also inviting and urgent. The arrangements are in many ways incredibly simple, relying on a few key elements, yet that restraint is what makes this album what it is as there is no need to keep piling things on top of each other.
“Its Summer Night” contains classical choral vocals along with minor chords and a dark feeling which sounds more like Mediæval Bæbes than anything connected with rock, and it is the way this album progresses through different styles which makes it so interesting as one is never really sure what is going to happen next. Relaxing, exciting, enjoyable and fluid, this is a rippling stream with the light catching the water as it babbles over the stones in the riverbed. There is so much space between the notes, and between the instruments, that one can get inside the music and into the minds of the musicians creating it and feel at one. What a wonderful debut, next, please!
To celebrate their 25th anniversary, Solitary went back into the studio to re-record three of their older numbers, “Requiem”, “Within Temptation” and “Keep Your Enemies Closer” and also used two songs recorded at the Camden Underworld, namely “Architects Of Shame” and “The Diseased Heart Of Society”. There aren’t many metal bands who can say they have been ploughing the same musical furrow for this many years, but Solitary are and always have been a British thrash act heavily influenced by what has been going on in America. Interestingly, there are few influences from the Big 4, although there are some elements of Megadeth here and there, but primarily these guys are huge Testament fans and boy does it show. Play “Requiem” and apart from the drumming one could imagine this was a long-lost number from Billy and the boys.
Overall this is a great little release, but it is let down somewhat by the drum production which is far too much to the fore. When the cymbals are louder than the guitars then one can say there is an issue. But fans of the band will undoubtedly lap this up and it certainly has me intrigued to hear more from them.
Nick Katona, head honcho of one of the finest music labels around, is back with this year’s charity offering. Seven songs by different artists who have all contributed the music so you have the opportunity to hear something very special indeed while also giving back. You see, you cannot buy this EP or download it without contacting the label, who will then send it to you free of charge (this is a digital-only release). All you have to do to get this is to provide proof of helping others. As Nick says, “To receive your copy as a gift from MRR and with the kind permission of all of our contributing artists we ask you to commit a great act of kindness. Send us proof of you donating to your local charity of choice, it can be your time, or tangible goods such as blankets, food or clothing even pet food. Think outside of the box; donate your time at the local food bank, soup kitchen or shelter. Certainly, the hospitals would be grateful for volunteers or donate blood today and save a life.”
I know that most people who think of others do so with no thought of reward or recognition, it is just because it is the right thing to do. Others aren’t aware of how much pressure this time of year can bring to those who are less fortunate, yet whatever society or country you live in there will always be some who are struggling. Not everyone has access to a computer to read this review, not everyone has access to clean water, food, clothing or a place to stay.
Each year at this time Melodic Revolution makes available a release like this, hoping it is a spur for those who are caught up in their own festivities to remind them of those less fortunate. If this release makes you think of that person who has no-one at Christmas or spurs you into buying a few extra bits and pieces at the supermarket to donate, or for you to find where you can volunteer for a few hours, then it has more than accomplished its goal.
It is almost an aside to say this seven-track release featuring Potter’s Daughter, Andrew Colyer, Harlequin Reborn, Don Schiff, Babal and Murky Red and Franck Carducci are an absolute delight. It is a winter album, not a Christmas album, and is a great way to discover “new” bands: a few here are new to me, while others are old friends. Potter’s Daughter even wrote the sublime “This Winter Child” just for this. Christmas is not about eating too much food or drinking too much wine, it is actually about people. Nick said to me “It’s more than just holiday music; it’s about love and hope”. Get out there, make a difference, and then contact the label with proof and in the subject matter put ‘Pay it Forward’, sending it to nick@melodicrevolution.com
You will be making a real difference in people’s lives, and while that will always be reward enough, now you can also get to hear wonderful music by amazing people as well.
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