by Kev Rowland | Jun 18, 2018 | Reviews
And so, the accidental band are back. Originally destined to be Matt Stevens’ second solo album, TFATD have morphed into possibly the most important instrumental rock act in the UK today. Comprising Matt (guitar, synth, piano), Kev Feazey (bass, programming, synth, percussion), Steve Cleaton (guitar, piano) and Stuart Marshall (drums, percussion) they have gained an amazing following (The Fierce Army) over the last few years, due in no small part to be a great live act who have found new fans wherever they have played. They can often be found playing with their mates Hawkwind, and gained huge kudos from their gig last year with Monkey3 at The Borderline.
Here they are back with their third studio album, which follows on from 2013’s ‘Spooky Action’ (they released the live ‘Field Recordings’ last year). It is incredibly hard to categorise their sound as it comprises elements from post rock, math rock, space, rock, prog and hard rock all thrown into a metallic melting pot. There are times when it feels that the band are just bouncing ideas off each other in the studio, jamming live, when at others it feels slightly more structured but whatever they are doing it always contains a mighty groove that makes the listener to move along to the music. Due to the small matter of geography I have never seen the guys play (they formed four years after I moved to the other side of the world), which I know is very much my loss, as while this is a great album I know that in concert it will be turned into something that is quite another level.
TFATD have stayed true to their roots to this album, and that the mainstream is starting to embrace them has far more to do with the rest of the world coming to grips with how good they are as opposed any “selling out”. This is an incredibly easy album to listen to, although with the distorted riffs sweeping through my brain I could never call them easy listening. This could well be the album that breaks them through to the big time, and it will be richly deserved. If you haven’t come across them before this, now is the time.
https://www.facebook.com/groups/fierceandthedead/
9/10
By Kev Rowland
by Kev Rowland | Jun 18, 2018 | News, Reviews
Only two years since their album, and there have yet again been some fairly significant changes in the Frequency Drift line-up. Lead singer Melanie Mau and guitarist Martin Schnella have both departed (they can be found in Gray Matters together, as well as other projects individually), as has bassist Rainer Wolf. But Andreas Hack (keyboards, guitar, bass, and mandolin) has been there since the beginning, as has drummer Wolfgang Osterman while long-time member and songwriter Nerissa Schwartz (quick aside, if you haven’t heard her solo album you owe it to yourself to do so) on harp and Mellotron is still there. The line-up is completed by new singer Irinia Alexia, and let’s hope that she lasts longer than just the odd album as she has a presence, range and clear singing voice which totally fits the music.
Musically the band are quite different to many, due in no small part to both Andreas and Nerissa having such a strong song-writing relationship and they are both keyboard players while the use of the harp is also quite different. They layer the music so that the arrangements are complex and quite dense in some ways, but then produce it so that the vocals are always first and foremost, rising clearly above everything else. There is a professionalism and restraint within the music, each note clearly having an important part to play in the whole proceedings. They may not all be playing at the same time, and the use of space is also important in everything they do, with bass pedals and keyboards often taking the part of the real instrument, which also has an impact on the overall sound. The warmth and “heaviness” of certain parts of the arrangements are in direct contrast to the clarity and “lightness’ of the harp and vocals, which provides a neat counterpoint. Let’s hope we get another album out of them before they change the singer again.
8/10
by Kev Roland
by Kev Rowland | Jun 10, 2018 | Reviews
It is some five years since Deafening Opera released their second album, but finally, they are back with their third. Even before putting it in the player I was impressed with the effort that had been put into the presentation, with all lyrics contained in the booklet. This is a concept album, but interestingly there is no explanation of that in the booklet, or in the press release, or on their website as there is an expectation that the listener will work the story out for themselves. I don’t know why it has taken so long for a follow-up, but it is good to see that the six-man line-up are the same as last time, and there is a continuity and tightness that only comes from a band that knows each other well.
They have moved firmly into hard prog territory this time, keeping it tight but never really pushing into prog metal, although they do have their moments. Adrian Daleore has a good clean voice, and by often staying more baritone than many, it definitely provides a distinctive front sound to the band. They state that the sounds they are using are more modern now, and in many ways that is true, although I did feel that they probably have more in common with many of the 90’s neo-prog acts than many of the others that around today, although Riverside continues to be an obvious influence. They are playing some gigs in the near future, and they need to get out and capitalize on this, as they have been taking too long between albums to build a real momentum. The lack of reviews for this album on the web also shows how much they need to build their profile, which is a real shame as yet again they have produced a strong album, with some interesting ideas that have been well produced. It may not be essential, but it is certainly well worth investigating. www.deafening-opera.de
7/10
by Kev Rowland
by Kev Rowland | Jun 10, 2018 | Reviews
The latest album from Welsh proggers Godsticks showed some changes in the band, as for the first time it sees them as a four-piece with drummer Tom Price, who replaces Steve Roberts (who had been in the band since 2010) and additional guitarist Gavin Bushell, which allows the band to be more aggressive and punchy than previously. They join Darran Charles (who also performed on The Pineapple Thief’s 2016 hit album ‘Your Wilderness’ and is part of their live touring band) who provides vocals and guitar along with bassist Dan Nelson. Lyrically, ‘Faced With Rage’ explores the theme of people dealing with emotional conflict in different scenarios, and who have a powerful desire to change their behavior or situation.
These guys are very much in the modern field of progressive rock, taking influences from Tool, Porcupine Tree, System of a Down, Radiohead and the aforementioned The Pineapple Thief and Bruce Soord. Actually, unless they’re careful they might even find themselves becoming beloved of the mainstream media as they are far more angular and indie rocky than one would normally think of with a prog act. With their approach and layering wall of sound there are also times when they come across as a more vibrant and energized Muse, and when listening to this I often find myself having closed my eyes and am just moving to the beat, not something one would normally expect from prog! I know I am late to the piece, as the album has already been out six months, but I am incredibly glad that I have finally heard it, as it is well worth investigating by anyone who has ever bemoaned that too many prog acts sound like Genesis.
8/10
by Kev Rowland
by Kev Rowland | Jun 10, 2018 | Reviews
One of the highlight reissues for me last year was ‘The Gardening Club’ by Martin Springett. It had been released in 1983, but last year was picked up and reissued by Gonzo Media, and I was fortunate enough to get a copy. I reviewed it at the beginning of 2018 and really thought that would be the end of it, as I knew that Martin had become a well-known and sought-after artist. What I didn’t realize was that in the intervening years he had kept recording and writing songs, and he read my review on one site and tracked me down through another and got in touch. The result is I am now listening to the new album, which is now by a band named after the original release. Martin Springett still provides all vocals plus acoustic guitar, and he is joined by Sean Drabbit, Wayne Kozak, James MacPherson and Norm MacPherson.
As one would expect, the CD itself is visually very appealing with wonderful artwork throughout the booklet, tray card and even the CD itself. It fits perfectly with the music as well, which still has strong elements of ‘Breathless’ era Camel and Anthony Phillips (as did the earlier release), but here there are also strong elements of Roy Harper (particularly), Rog Patterson and the Strawbs. Nothing is rushed, and there is no feeling of constraint as the guys go where the music takes them, which is sometimes acoustic and sometimes electric, sometimes pastoral and at others more electric or driving. The result is yet another album that is full of melody and stylings that is more progressive in attitude than it is in sound. Although the version I have has been self-released, I am convinced that this will soon be picked up by a label which can provide the support it needs, as this needs to be heard by those who enjoy good music. There is a naivety within it that hearkens back to the Seventies, a fretless bass that provides warmth with the dexterity, acoustic stringed instruments that all strive to be heard while over the top are Harper-esque vocals that are so perfectly in keeping with it all. These are songs, real songs, not extended workouts and the album is a total delight throughout. The Gardening Club is already recording new songs for their next release, yet this has only just come out. Martin is certainly making up for lost time.
Welcome
9/10
by Kev Rowland
by Nick | Jun 10, 2018 | Reviews
As I started listening to this album I was instantly reminded of Iona, and their classic Celtic stylings, but for some reason, I also kept thinking of elements of Nightwish, which didn’t make any sense to me at all. It was only when I finally read the press release that I realized what was going on, as what we have is in many ways a collaboration between the two. Troy Donockley has long been seen as the “go to “ person when pipes are required: I first came across him when he was in Iona, and since then he had made his name featuring with many great bands before becoming a member of Nightwish. Of course, Tuomas Holopainen is the musical mind behind that band, and he and Troy are great friends, seeing each other socially as well as when Nightwish are working. They are also both friends with Johanna Kurkela, and back in 2011 the three of them recorded a demo of Troy’s, “Aphrodite Rising” (the finished version of which appears on the album), which led them to believe that they should undertake some further work together. But, Nightwish was in ascendance and incredibly busy so there was just no time, although in 2017 when the decision was taken to have a break, it meant that they could get back together, write some more material, and Auri was born.
The trio of Johanna Kurkela (vocals, viola), Tuomas Holopainen (keyboards, backing vocals) and Troy Donockley (guitars, bouzouki, uilleann pipes) are joined by various unnamed musicians, and they have created a mostly acoustic album that can truly only be described as “beautiful”. Iona, Clannad, Enya and early Nightwish have all had their part to play. Tuomas plays far more piano than keyboards, while Troy has a deft approach to anything he touches, and Johanna’s vocals are simply stunning. No effects, just a little reverb, and she is always front and center – no need for autotune here. The music at times is incredibly simple, almost naked in its naivety and clarity, yet there are also layers of complexity and the arrangements are perfect in the way they combine melody and dynamics yet never detract from Johanna. I am a huge fan of Nightwish, and have pretty much all their albums, yet would be happy for that band to be on hiatus for just a little longer if that means that we can get another album from Auri as I could listen to this all day.
9/10
by Kev Rowland
