by Kev Rowland | Jul 29, 2018 | Reviews
I very nearly missed out on this one, as although the material was made available to me, I didn’t chase it down as I hadn’t heard the name anywhere, and it’s not as if I am hunting for albums to review. But, I was told that there was a PFM connection so thought that it may well be of interest, and I am glad I did. The label is a new one to me, but looking at their site they have released a lot of material so far. Their stated aim is to only focus on Italian bands, publishing the best from the past and present Italian “hard ‘n’ heavy” scene. The main Italian label I have worked with over the years is Black Widow Records, who concentrate much more on classic Italian progressive rock, so this in itself was intriguing. As to the band themselves, Arca Progjet was originally formed by Alex Jorio (drums, Elektradrive) and Gregorio Verdun (bass and keys), together with Sergio Toya (vocals), Carlo Maccaferri (guitar) and Filippo Dagasso (keyboards and programming). There are also some special guests, including Mauro Pagani, a founder member of PFM who appeared on their first albums before leaving in 1977.
I am guessing that Mauro provides violin, the instrument for which he is best known, but he is more important in having his name connected with this release as opposed to the music he provides on it, as that PFM link is going to get a great deal of people interested – and to be honest it was the reason I listened to this in the first place. But, I am glad that I did as here in an Italian progressive rock band that is using the sounds that one would expect from a band from that country playing this style of music, but also has been brought up to date so while many may expect this to be RPI, there are also elements of neo-prog, hard prog and crossover which make this an incredibly interesting and accessible album on the very first hearing. All lyrics are in Italian, often with harmonies, so I treat the vocals as part of the overall sound, and to my ears it all comes together very well indeed.
If this album had been released on one of the “usual” progressive labels then I am sure that we will have been hearing a great deal more about it, but as it is more “reviews” just seem to mention that it has been released and that it features Pagani. But, this is an accessible progressive rock album with a series of short and direct songs that allows the musicians just enough to room to display their skills without it ever becoming one long solo-fest after another. Two numbers manage to just breach the seven minute barrier, but most are around the five-minute mark, and while the keyboards often use keyboard or mellotron sounds they are never filling the sound and there is always plenty of room for the guitar to be heard as well. This is a really enjoyable album, that definitely deserves to be heard, and as it has been made available on Bandcamp while not give it a try?
8/10 by Kev Rowland
https://jolly-roger-records.bandcamp.com/album/arca-progjet-arca-progjet
by Kev Rowland | Jul 29, 2018 | Reviews
This is the fourth album by UK art rock/psych/prog outfit Babal. The band is based around the core of singer Karen Langley and Rob Williams (guitars), with Jon Sharp (drums), Zoie Green (keyboards) and Ben Balsom (bass), and to be honest, I don’t like it very much at all. But, I can appreciate it, and that’s a difference. While I can’t see myself ever playing this for pleasure, I can totally understand why a great many will be fascinated by this weird amalgam of Frank Zappa, Bill Nelson and Talking Heads (plus lots more). I’ve never understood the fascination with David Byrne, but as soon as I started listening to this I was reminded immediately of him, and would have been surprised if I hadn’t come across him in relation to these guys, and wasn’t disappointed.
There are musical layers upon layers, complex, often staccato and disjointed, all coming together in a strange mix where the drums are too far to the front. That is my only complaint on what is generally very strong production indeed, so that is an obvious choice as opposed to any failing. This really isn’t my style of music though, but for anyone who is intrigued by the idea of David Byrne being involved with Zappa (in particular) then I do urge you to seek this one out, even though it is not for me. It has been released by Melodic Revolution Records on vinyl as well as CD and digitally
7/10 by Kev Rowland
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by Kev Rowland | Jul 29, 2018 | Reviews
The first four albums were all released two years apart, but it took three years for the fifth to see the light of day, and what wasn’t understood at the time was that this would be the last album until a return some seven years later with 2017’s ‘Emerger’. Edelönn, Fandén and Perkovic were all still involved alongside the duo of Flinck and Westholm, but there had been a musical shift between this album and the previous ones. There is now a bleakness, almost a desperation, while the music has also become heavier and more symphonic. There is definitely the feeling that the band has become much more of a quintet than just a duo, and while the orchestral feel from the earlier albums is still here, this is a band starting to move away from what they had been doing.
Between this album and the previous one, Westholm had released a couple of albums under the name of Jupiter Society, which were musically very different to Carptree and there is no doubt that at this point this band were moving into a much rockier direction than they had previously. Carl was to become heavily involved in HM acts, including the mighty Candlemass, and although this could never be thought of as a heavy album, it is indeed a step change from what had happened before. Niclas has a voice that I have seen compared to Hogarth, but in fairness to both of them he is much more like Gabriel, and while he has always seemed at home in the gentler material, when given the opportunity to put himself more to the fore, as on the dynamically changing and challenging “Land of Plenty” he relishes the opportunity.
Of the four albums I have heard from Carptree this is definitely the most diverse in its approach, while also the most interesting. I may be behind the times, but I am so glad that this 2010 album has finally come my way.
www.carptree.com
8/10 by Kev Rowland
by Kev Rowland | Jul 29, 2018 | Reviews
Although I really enjoyed Carptree’s second and third albums, I somehow lost touch with what happened after that, and it is only now that I have heard their third album, ‘Insekt’, which was released in 2007. As with their earlier albums, the band is still a duo of singer Niclas Flinck together with keyboard player Carl Westholm, plus a few guests. Ulf Edelönn (guitars, bass), Stefan Fandén (guitars, bass) and drummer Jejo Perkovic were all involved with the previous few albums as well, while Edelönn goes all the way back to the debut, so although these three may not be seen as being full members there is no doubting there impact on the overall sound and the knowledge of what is required.
The No Future Orchestra, which first appeared on 2003’s ‘Superhero’, and continued through ‘Man Made Machine’ is still here on ‘Insekt’, while the use of the Trollhättan Chamber Choir on a couple of songs is inspired. This all assists in providing Carptree with a sound that really is quite unlike many others around. There will always be some who feel that the guys belong in neo-prog, but in reality they mixing the likes of Pink Floyd and Peter Gabriel together, while interestingly one can hear later period Big Big Train in what they are providing here, but of course ‘Insekt’ was released more than ten years ago so who influenced who? It may have taken me way too long to finally hear this album, but I am so glad that I have, as this is yet another great release from the Swedish duo.
www.carptree.com
8/10 – by Kev Rowland
by Kev Rowland | Jul 25, 2018 | Reviews
For their 2016 album, Nth Ascension made the move to American label MRR, and the confidence they gained from the critical acclaim of their debut is clearly apparent. Whereas the debut ‘Ascension of Kings” was an excellent album, this one just seems to have that touch more depth in every area. There are three songs more than ten minutes in length, and as well as channeling the likes of Pendragon and Clive Nolan there is also far more in the way of Pink Floyd, Magnum, and Saga. The music is arranged in such a way that Alan’s vocals are very much to the fore of everything that is going on, which to me is a huge benefit as he has more than a touch of Roger Chapman and particularly Cyrus (Citizen Cain) about what he is doing, although I am aware that it may not be to everyone’s tastes.
It is a class album that is full of the Nineties prog scene in so many ways, and anyone who lived through that musical period such as I will be listening to this with a huge smile on their face, yet it has been brought both up to date in terms of production as well as looking back into the Seventies for inspiration here and there. Craig is a great drummer, driving the tunes from the back and adding fills and stylings when the need is right, always working the kit without overpowering the rest of the guys. His brother Gavin does far more to lock down the sound and keep it tight but also moves away from grounding songs when it is time for him to add additional melody. Their dad either riffs, solos or sits back and has a rest and does nothing so that when he does make an entrance it always has an impact. Then, of course, there is Ten keyboard player and solo artist Darrel, providing curtains of sounds, or taking the lead, or adding dynamic piano, whatever is required.
The more I played this album the more I enjoyed it, as the more I gained from it. While the debut was strong, this is far more distilled, controlled, and so thoroughly enjoyable.
By Kev Rowland
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by Kev Rowland | Jul 25, 2018 | Reviews
Some years ago I came across the debut album from Gandalf’s Fist, then lost touch with them again until I received an email one day stating that to celebrate the two year anniversary of their latest album they were providing a free download of the first act. A short flurry of emails between myself and Dean Marsh, and I soon had a copy of the three-CD set to listen to. I knew there was something very special going on here even before I listened to it, as there were guest appearances by Arjen Lucassen (Ayreon), Blaze Bayley (Ex-Iron Maiden), Matt Stevens (The Fierce and the Dead) and Dave Oberlé (Gryphon). The album also featured the voice acting talents of the likes of Mark Benton (Waterloo Road) and Zach Galligan (Gremlins) among others. Then on top of that there was the press release. If an album is self-released I am lucky to get a page of (sometimes) useful background information, at a maximum two. No, what I have here is a 16 page full colour guide to Cogtopolis, with diagrams, illustrations, a complete history of the formation of the city, how it all works plus so much more.
Yes boys and girls, what we have here is a full-blown concept album on steroids. In some ways it is mix between the concept albums of Clive Nolan and the science fiction stories with music of Hibernal. There is far more acting and drama than one would hear from the former, and far more songs and rockiness than one would get from the latter. In many ways this has moved far away from the concept album format, and into a full-blown film for the ears. I soon found that the only way to listen to the album was by giving it my full attention, as if I didn’t I soon lost track of whatever else I was trying to do anyway. The interplay between the progressive rock music and the dramatic storyline is seamless, with both providing dynamic interplay.
I kept “seeing” what was going on in my mind, and also wondering if they were ever going to publish a book to go with this, as I can easily imagine this story being greatly expanded. I am not going to give anything away about the storyline itself, apart from saying that it takes place under the earth’s surface, as due to man’s maltreatment of nature humanity were sent underground some two hundred years previously. From the very beginning, when the lamplighter comes across a traveller, I was hooked, desperately wanting to understand where the story was going to take me. That the music was heavily influenced by neo prog and contained wonderful vocals performances and great musicianship and melodies was the real icing on the cake. I was surprised just how often I was reminded of the mighty Legend, as they and Galahad have obviously been fairly important inspirations behind this mighty endeavour, as has Ayreon and IQ.
A triple CD concept album, of this depth and magnitude, is released very rarely indeed. I can honestly say that it is one of the most impressive pieces of work I have come across in the last five years, and is essential listening to anyone who loves good music. www.gandalfsfist.com
by Kev Rowland
