I come to you with the heaviest of hearts. At the time I was in process of reviewing this album, I never realised it would be part album review , part eulogy. Unlike people such as Lemmy Kilmister of Motorhead or a Warren Zevon where they made their illness and potential passing public, David Bowie decided to make it a more covert private affair. It was due to the desire for privacy that would make his final album Blackstar so potent in both its melodic and lyrical foundations.
Blackstar is considered by many as a ‘Parting Gift’ to the fans. That can be justified easily. One can question whether or not Blackstar was a self fulfilling prophetic and creative statement. If it was and I stress ‘IF’ it was , David Bowie made one of the most profound of last statements on a musical and creative level I ever heard in my life. One can only imagine how his health effected his songwriting during the creation of Blackstar as well.
Throughout the span of a 51 year career David Bowie was one of those artists who never ever did the same thing over and over again yet was still able to not only make something relevant but to create something genre bending at the same time. Musical genres included in the 51 year career run the spectrum from Art Rock, Progressive Rock, Glam Rock, Jazz, Blues, Pop Rock, etc .. David.Bowie always managed to change his sound totally with every new release without abandoning his fan base. Blackstar is the complete package of all those genres mentioned above with serious introspection and self reflection.
In this 51 year career David Bowie had a uncanny ability reading the tea leaves and sensing the sea changes of the music industry. I believe this contributed to his uncanny ability to make a different style and genre of record he had released to the global fan base. I also see this ability as reason why his fan base never dwindled and progressively grew from generation to generation. Whether you are a Baby Boomer, Generation Xor even a Millennial, David Bowie managed to make a quality and unique project that spoke to any generation. While some of his peers and contemporaries in the music industry experienced lulls or even periods of inactivity, David Bowie seemed to roll with the changes and adapt to the culture at any time. I will not do a typical breakdown of each track of the album like I normally would. With that said here is a summary of Blackstar as I observe it.
Blackstar has many dark ambient elements. There is some great jazz undertones that run side by side with the rhythm section with lush vocal atmospheres. Blackstar also presents elements of eclectic progressive rock in a minimalist setting. There are some blues portions as well. Blackstar was written as if David Bowie was reflecting of his 69 years here on Earth. I also see David Bowie going out on his own terms musically the way he always operated when he was with us in the flesh.
He wrote, recorded, performed, toured all on his own terms. It is perfectly fitting that the ‘Parting Gift’ of Blackstar was his own Eulogy. Many will write commentary on this Genius’ life however the best commentary is from himself on Blackstar. Although David Bowie did not go out on his own terms he certainly left us one last recording on his own terms. With the passing of David Bowie, I believe we are now truly in a time where An Era Is Ending. Ziggy I will look for your star shining down upon us from the heavens tonight. Thank you for the music and film you left for us and for many generations to come.
Gandalf’s Fist | The Clockwork Fable | 2016 Reissue
Label : Independent Release Release Year : 2016 Country : United Kingdom Genre : Progressive Folk Rock/Progressive Metal/NWOBHM
Band Members
Dean Marsh – Vocals,Guitars,Synths, Mandolin, Octave Mandola, Bass (The Voice Of The People Of Cogtopolis) Luke Severn – Lead And Backing Vocals (The Voice Of The Nightkeepers) Chris Ewen – Bass Stefan Hepe – Drums, Percussion
With Melissa Hollick – Female Vocals (The Sung Words Of Eve) Dying Seed – Backing Vocals
Guest Musicians/ Chorus & Orchestra
Dean Marsh – (The Voice of The People Of Cogtopolis) Luke Severn – (The Voice Of The Nightkeepers) Arjen Lucassen – (Sung Words Of Armistead) Blaze Bailey– (Sung Words Of The Primarch) Dave Oberle – (Sung Words Of Pastor Simon) Melissa Hollick – (The Sung Words Of Eve) Matt Stevens – Ambient Guitars
Dave Oberle – Bodhran/ Tan Tan
The Players – (Narrative Actors)
Mark Benton – Spoken Words Of The Lamplighter/Prison Guard/The Secretary Zach Galligan – Spoken Words of The Steam Ranger Tim Muro – Spoken Words of The Tinker Alicia Marsh – Spoken Words Of Eve Paul Barnhill – Spoken Words Of Pastor Simon Bill Fellows – Spoken Words Of The Armistead & Nightkeeper Spy
Paul Kavanaugh – Spoken Words Of The Primarch & Nightkeeper Brethren 1 Chris Ewen – Spoken Words Of The Boy Luke Severn – Spoken Words Of Second Secretary & The Brethren 2
Growing up on a habitable part of ‘The Surface’ of the world, I kept on hearing of a mysterious subterranean world called ‘Cogtopolis.’ For some reason the city on ‘The Surface’ suffered a apocalyptic end and its inhabitants were forced to move underground and thus the city founded was ‘Cogtopolis’ . My curiosity got the best of me so I got my ticket to this mysterious yet enigmatic cavernous city. The world I had taken my holiday to was far better than any ‘Astonishing’civilization I have ever been to in 2016.
This world is created by the much acclaimed progressive rock band called Gandalf’s Fist as they return in 2016 with The Clockwork Fable. Gandalf’s Fist have returned with a 3.5 hour melodic movie in the theater of YOU the listener. The Clockwork Fable has a all star cast much like they 2014 Forest of Fey did. This time with The Clockwork Fable, Gandalf’s Fist return with the undisputed ‘King Of Rock/Metal Opera’s Arjen Lucassen – Ayreon, Blaze Bayley – ex Iron Maiden, Matt Stevens – The Fierce And The Dead on the musical vocal side. On the narrative spoken word side the storyteller’s Gandalf’s Fist enlist the talents of actors such as Mark Benton – Dr Who, Zach Galligan – Gremlinsand Bill Fellows – Downtown Abbey . This is some serious talent coming from a independent that totally self finances their projects.
Gandalf’s Fist The Clockwork Fable is a rock/metal opera, conceptual work and a progressive rock oriented musical all in one. As far as rock/metal opera’s The Clockwork Fable now joins the likes of The Who’s Tommy, Ayreon, Avantasia, Genius The Rock Opera and Leonardo The Absolute Man. As far as conceptual albums The Clockwork Fable joins on the progressive rock side Jethro Tull’s Thick As A Brick, Pink Floyd’s Darkside of The Moon & The Wall, Yes’ Tales Of Topographic Oceans, Queensryche’s Operation Mindcrime 1&2 , Fates Warning’s A Pleasant Shade Of Grey, Dream Theater’s Metropolis 2: Scenes From A Memory and Spock’s Beard’s Snow and Pain Of Salvation’s BE in modern time. On the stage musical side The Clockwork Fable has potential to even be adapted into a musical like Hair, Cats, Rent or West Side Story.
The Clockwork Fable is broken into three separate Acts much like a stage musical or Broadway production. There is Act 1 The Day The Great Cog Failed, Act 2 Of Men And Worms and Act 3 From Burrows We Came. Every Act runs in a very congruent and fluid manner as the story is well crafted and produced. The narrative segue’s are spot on and keep the Traveler or you the listener completely engulfed in the story of the lives of Cogtopolis on The Clockwork Fable, thus commanding your full attention to listen carefully. Instead of doing a complete track by track analysis I will point out highlights off each of the 3 CD’s or Three Act’s.
Act 1 The Day The Great Cog Failed -(Tracks 1-10)
The Clockwork Fable opens up with The Traveler and The Lighter, a monologue of The Lamplighter offering The Traveler, the listener a grand tour through the great city of Cogtopolis. The Lamplighter proceeds to explain the inner workings of Cogtopolis which ironically are similar to the inner workings of a old clock that operates off cogs’ or wheels. It lays a steampunk kind of atmosphere to The Traveler. After The Lamplighter has given The Traveler basic instructions for the tour, Eve a young lady meets them with a neo progressive track titled Shadowborn.
Shadowborn is has heavy neo progressive/folk/progressive metal elements. The instrumental portion reminds me a lot of the NWOBHM meets today’s folk metal much like Finntroll without the grunts. Eve who is sung by Melissa Hollick basically introduces The Traveler or listener to the plight of those in Cogtopolis. Shadowborn has some killer hooks and melodies with a sprinkle of a powerful guitar solo.
The Lamplighter – (Parts 1- 8) begins with a very Pink Floydian ambient orchestral passage. The soft warmth of the vocals between male and female invite you in as part of the story or the day in the life of a resident of ‘Cogtopolis’. About the 4:00 mark the entire song takes a series of twists and turns through various folk and progressive passages. The Hammond keyboard gives it a darker depth of underworld persuasion while the folk influence remains constant. Layers upon layers of ambient atmospheres in harmony with the ambient vocals carry the listener off into this underworld universe. This also displays the urgency of what The Lamplighter’s mean to Cogtopolis. There is a killer guitar outro solo around the 13:00 mark.
In The Cavern Of The Great Cog is another in a series of segue narratives that keep the story very concurrent with continuity. The narratives serve as the backbone to The Clockwork Fable allowing The Traveler or listener to remain in the story as a character themselves. This leads to the next musical track The Great Cog.
The Great Cog opens up with a heavy bass/drum rhythm section perfectly complimenting the brief warm ambient vocals before the the vocal takes on a more Rob Halford sound. The synths remain in the vein of the old school Hammond organ keeping a darker edge to the conceptual sound. The vocals go in and out from very ambient style atmosphere to a more Rob Halford high end register. There are some great breaks where the vocal takes a half spoken word in harmony with the sung vocal.
The Shadow Rises is another in the series of narrative pieces. The band has done a great job with the continuity of narrative segue’s leaving The Traveler or the listener compelled to the story like a eyewitness character. Thus there is never a drop nor silence between the sung tracks and narrative tracks.
The Capture (Including A Song For A Fallen Nightkeeper) is definitely NWOBHM influenced with its galloping rhythm intro. The vocals have both a choral chant and a well articulate female vocal. This is the first time the instrumental section gives the listener a instrumental simulation of the steampunk inner workings to Cogtopolis. The main and lead vocals are sung through a ambient atmospheric filter.
Act 2 Of Men And Worms – (Tracks 11-20)
As rumor that ‘The Surface’ might be stabilizing and sunlight is returning so does speculation without facts. Some of the people of ‘Cogtopolis’ either become zealots or just out and out complacent. Gandalf’s Fist do a great job depicting vividly in both instrumental and lyrical of this complacency. Tracks such as Victims of Light, Ditchwater Daisies and The Lamplighter (Parts 9 – 13), all explain about some being imprisoned for questioning authority, people in Cogtopolis perhaps conspiring to go to ‘The Surface’ and the like lyrically.
On a instrumental side, Act 2 serves as a perfect melodic and rhythmic bridge towards Act 3 the final Act. A Solemn Toast for the Steam Ranger reborn is a 10 minute epic in a very Peter Gabriel fashion, particularly Solsbury Hillyet with light jazz elements and a female and male vocal. A Solemn Toast for the Steam Rangerreborn is a excellent ambient atmospheric piece with great guitar solo’s that get progressively heavier as the track moves forward. The solo’s are almost in a vein of Iron Maiden with folk elements. The music is not to heavy yet not too mellow. It is balanced just right. Their are many cohesive vocal harmonies that keep the story of The Clockwork Fable moving without boring The Traveler , you the listener.
Act 3 From Burrows We Came
Act 3 From Burrows We Came is the heavier Act both on the heavy prog side, heavy metal side and even the folky side. The Lamplighter (Parts 14-15) begin with a very heavy brooding style in both the instrumental atmosphere and rhythm section. The vocals are conducted perfectly in a brood heavy handed ambient atmosphere. The Climb explodes in a very old school NWOBHM fashion with galloping guitars and fast bass lines, yet with a modern neo progressive sensibility. About the 2:00 mark appears the choir. The band uses the choral or choir more as a ambient instrument than a vocal. The Climb reminds me a of the very heavy handed ambient vibe of Pink Floyd’s Welcome To Machine before taken another NWOBHM turn in the way of progression. Although the synths are more neo progressive about this point they still remain very heavy with the rhythm section. The Climb is the pivotal track that starts to wind up the story of The Clockwork Fable.
I think I will stop there with my analysis portion of the review. I will say this, without a doubt Gandalf’s Fist have innovated the blueprint in which progressive rock/metal conceptual albums are written, recorded and produced. The Clockwork Fable places the listener within the story as a living breathing character. The Clockwork Fable is one of those concepts that will be talked about for many generations to come. The Clockwork Fable gave me the impression I was on holiday or vacation to the very world Gandalf’s Fist created. They beautifully and perfectly painted a motion picture movie in the theater of my mind. My time in Cogtopolis was very interesting .This album will definitely show up in my Top 5 of 2016and for all those reasons above gets a maximum of 5/5 .
John Kampouropoulos – Narrator’s Voice – Once Upon A Time, The Girl With Sad Eyes, In A Dark Alley, Terrified And Ashamed, The Punishment, A Strange Dream, An Unxpected Morning, Cautious Thoughts, Storm Breaking, Facing The Truth, Awareness
Marika Papazoglou – Background Vocals on Mr Funker, Drop D, Whispers
Aggelos Polychronou – Percussion on , The Myth, Whispers
Theano Tsami – Vocals on Little Annie, Inner Conflict, Final Act, Whispers, Background Vocals on The Myth
This review of Groove Therapists’ ‘Mr Funker The Myth’ originally appeared on the older Power Of Prog social network website. Updates included that were absent in the original review are information giving the guest musicians credit, the official website of the band and where to buy Groove Therapist’s ‘Mr Funker The Myth’ online. The rest of the review is as it was when it was originally published.
Original From Winter/Spring 2016
I would like to open this review as one coming out from underneath a boulder in 2015. How I missed this one in such a banner year in progressive rock and metal is beyond me.
It seems that Greece continues to make their mark in the world of progressive rock and metal. From the land that has brought us Firewind, Gus G, Seduce The Heaven, etc .. presents the band called Groove Therapist. It seems that Groove Therapist intended to make a statement early in their recording career by the debut release of a concept album titled Mr Funker “The Myth’ .
It is certainly no secret that progressive rock and metal has served as the perfect breeding ground of creativity of conceptual albums. From the earlier albums such as Yes’ Tales Of Topographic Oceans to Jethro Tull’s Thick As A Brick in the 1970’s to later pieces like Queensryche’s Operation Mindcrime 1 & 2,Savatage’s Streets A Rock Opera, Fates Warning’s A Pleasant Shade Of Grey and Dream Theater’s Metropolis 2: Scenes From A Memory, Groove Therapist’s Mr Funker ‘The Myth’ now joins company with these and many other conceptual works in progressive rock and metal music.
On a creative and literary note, Groove Therapist’s Mr Funker ‘The Myth’ will certainly appeal to fans and readers of such legendary writers as Edgar Allen Poe’s The Raven and Charles Dickens’ David Copperfield. Like those masterpieces, Mr Funker ‘The Myth’ has a brooding villain oppressing a orphanage or the poor in obscurity by a evil entity called Drop ‘D’ and a hero lurking in the shadows of the streets within the village waiting for its chance to strike and avenge the evil.
On a musical perspective this concept has a little of everything. It has heavy progressive riffs and even a few sick time signatures to perfectly narrated segue’s that help the listener follow the story. A lot of the actual musical tracks hit with all the hallmarks of a progressive outlet. Whether it is a symphonic, a old school Hammond organ or a modern progressive metal there is a little bit for every audio pallet out there. The fact that there is a actual female singing the female portions and male singing the male portions also helps the listener identify and relate with the characters of the main narrative. When anger resides in the characters so does the vocal and melody.
This was one of the most courageous and ambitious debut’s I have heard in the last 25 years. Where most bands wait until their third and latter albums to do a concept such as this, Groove Therapist have made a profound and direct statement that they are here now. Mr Funker ‘The Myth’ will be a concept album we will be talking about 20 years from now. This is also a concept that can easily have visual treatment on it if the band ever decides to go that direction. For the courage and ambition as well as a damn good concept. I give this a 5/5.
It is a cool dusk night in the desert. You have the top down on the convertible . You are heading towards the top of a small mountain summit and just come as close to the night skyline as you can get. You adjust the CD changer making sure that the music can be as you take your significant other and you both lay on top of the hood of the convertible. As you look at one another hand in hand, you look up at the starlit night line. The first sound from the CD in the car is that of raindrops of the Into The Wheel Of Time off of Marco Ragni’s Mother From The Sun double concept CD. As I approached this article about this double concept album, the above event I just described played over and over again in the vast film screen in the theater of my own mind. The more I listened to this, album the more vivid the imagery was in the theater of my mind. Marco has a very uncanny ability to transport the listener out of their respective comfort zones and to indulge into the world he paints on his projects. Everything is so well written that the travel in between your world and his is very subtle one. Before you know it, you can not feel for yourself anymore as the music takes you into Marco’s alternate reality.
When I began my approach to this double concept album, I did so with my normal defenses and expectations. This soon gave way and I was stripped of any expectations, scoring systems my normal defenses and what I look for in a album. Marco writes and produces in such a way where the listener must forfeit all those preconceived notions mentioned above and allow Marco to take you the listener into the world he intended for you to see and hear.Marco Ragni does what I call ‘Gentlemens Prog, meaning he has a very minimal approach that allows the listener to feel invited into his melodic world and not overwhelmingly forced to accept it because it slaps you in the face. Mother From The Sun demonstrates the Genius that truly is Marco Ragni. With Marco Ragni’s songwriter and partner/wife Alessandra Pirani , Mother From The Sun has both a masculine and feminine personalities within the compositions of the songs.
Lyrically the album is based entirely on one very personal subject matter. It celebrates the life of a mother to her son. The album talks about all aspects to the relationship of mother and son. Frankly I have not felt such conceptual introspection and reflection since Pink Floyd’s The Wall. Mother From The Sun blends both modern progressive rock elements to late 1960’s psychedelia. Here are some highlights from Mother From The Sun of both CD’s The Rise And Fall Of The Human Heart CD 1 & The Awakening Of Consciousness CD 2 .
CD 1 The Rise And Fall Of The Human Heart
This one opens up with a lush beautiful ballad called Into The Wheel Of Time. This song opens up this journey with semi electric yet atmospheric flair. Warm vocals and and heavy jazz style horns serve as a great backdrop for the listener. This serves very well as the introductory track for the album. When you get to the next track Sea of Vibes, Marco already takes you on a 15+ minute journey about the boy’s early childhood. Sea Of Vibes starts as a very lush heavy acoustic guitar passage with Marco’s ethereal vocals in harmony with a atmospheric touch. The track takes a up tempo semi electric semi folk passage. At about the 3:00 mark the track takes on a beautiful sound effect from nature’s outdoors. It is as if Marco is trying to convey such a innocence for early life. Lyrically the track takes a very unusual darkness with such a upbeat instrumental. However Marco makes both work in harmony towards his main objective. The track continues with more atmospheric folk layers than the usual time signature swift changes. Marco starts to really demonstrate his storytelling prowess both lyrically and instrumentally. With some patience and focus the listener can really get caught up in the journey of Mother From The Sun starting at Sea Of Vibes.
Painting serves as the perfect segue track to the next epic Haven Of Marble . Haven Of Marble is the next in three major epics on the album as a collective. This one clocks at 17+ minutes. Like Sea Of Vibes before it, Haven Of Marble also paints a lush atmospheric instrumental section as well as a lyrical one. This is one of those classic cases where the boy has big dreams and the talent to effectively achieve those dreams. However due to some jealousy or the wishes of the will of the mother she starts trying to discourage the boy from pursuit of the interests he is passionate about meeting. Instrumentally Marco allows the track to breathe and develop its own character and personality with the way he goes from upbeat rhythm tempos to outright psychedelic atmospheres around the 7:30 mark in the track. The unspoken word portions are used to bring the heavy handed personality of the authority figure as they tell the boy he can or can not do what his dreams and desires are. With this being a 17+ minute epic it allows for Marco to really explore the childhood of the boy in great depth and detail.
Faint Memory is a beautiful introspective ballad that puts a high emphasis on both acoustic guitar and piano passages. At times it lightly visits folk and psychedelic elements as well. Marco adds some very warm vocal textures to this as well.
The Light Is Burning starts with a vocal harmony almost at the level of Crosby, Stills & Nash. This track also places a higher emphasis on acoustical progression chords with keyboard atmospheres in the backdrop. Marco always seems to take elements people deem old or ‘out of touch’ like the folk elements and make them fresh and modern again.
Get Out Of Here continues with the beauty of harmony and the sweet spot of melody. Marco has already established that he can perfectly combine instrumental atmospheres with modern acoustical guitar elements all in harmony to the lead and backing vocals.
CD 2 The Awakening Of Consciousness
In this half of Mother From The Sun we start to see the boy grow up and develop interpersonal skills to accomplish his goals and dreams despite the rocky relationship with his mother and stepfather. The boy starts to become a man and we begin to see some rites of passage crossed. This half of the album is a little bit heavier with a lot more attitude in the writing, recording, producing and mastering. Marco manages to do this without both sides sounding like they are stand alone albums and still maintaining the course and main objective of the double concept album that is Mother From The Sun. Once again Marco uses a epic to explain this transition in the boy’s life with a 22+ minute epic Far Beyond The Line.
Far Beyond The Line opens up with a intimate psychedelic piano passage that soon draws a big vocal harmony to its isolation. The opener really allows the listener to remain engulfed in the introspective personality to the the content of the song. This track here has a lot of Pink Floyd influence with the various chord progressions inside every passage whether on a stringed or rhythm section based passage.
The track is a lot heavier than the recent songs on the album. It will appeal to prog purists or just lovers of classic hard rock. Around the 11:30 mark the song takes on some heavy jazz elements to make the track a lot less predictable. The listener certainly will never be bored anywhere within the album. This also serves as the perfectly arranged track in which a transition happens towards another half of the album in its sound. A sound that is more based within hard progressive classic rock.
The First Time I Saw The Sun is a 1:09 segue transitional track with tight rhythm sections and piano accented tracks. Skies Painted By The Wind begins with a heavy folk passage with the flute as a anchor instrument. The song continues with open and vast passages both in the stringed and rhythmic sections. Once again Marco’s vocal really conveys the emotion in the harmony much like the guitar either acoustic or electric does in the stringed section. The message and images the album continues to paint really shine through on this one.
Skies Painted By The Wind begins with a heavy folk passage with the flute as a anchor instrument. The song continues with open and vast passages both in the stringed and rhythmic sections. Once again Marco’s vocal really conveys the emotion in the harmony much like the guitar either acoustic or electric does in the stringed section. The message and images the album continues to paint really shine through on this one.
In The Air starts with a beautiful semi electric guitar passage with Marco’s warm vocals anchor the progressive atmosphere. The rhythm Section soon kicks in and takes the track in a whole other direction. This song seems to sound like two in songs into one. The track is also anchored by a beautiful female vocal as well.
Breathing is another transitional track just a little over 1:00 long. It has a high emphasis both on semi acoustic guitars with a horned section atmosphere. They combine in a semi psychedelic passage.
Northern Light really takes off with a traditional progressive hard rock mentality. This track is also anchored by both rhythm based and vocal harmony based sections performing in melodic harmony with one another. There is also a great guitar solo in the middle to bridge both halves of the track.
Mother From The Sun is a basic reprise of how the double concept opened. The lyrical content and instrumental content really bring the entire double concept full circle. The boy has matured into a man by this point and begins his life as an adult.
With over 2 + hours of well written and recorded progressive/psychedelic rock, Mother From The Sun is one of those innovative blueprint albums that will help the posterity of progressive psychedelic rock. Marco Ragni was able to incorporate traditional progressive elements into Mother From The Sun and still place modern elements within the project. This is definitely the most personal project of his career. It is certainly a album I would love to hear live in its entirety someday. Marco even had a world class roster of musicianship that made this the masterpiece it instantly is. Since this project is over 2 years old I will not score it. I will say this is a future classic people will talk about 20-50 years from now in the vein of Yes’ Tales From Topographic Oceans, Jethro Tull’s Thick As A Brick or even Can’s conceptual masterpiece Tago Mago. or Pink Floyd’s Darkside Of The Moon and The Wall.
Mix up one part Saga, the other part Triumph, another part Rush’s Moving Pictures take the voice down a little more into the area of bass and you have the modern Prog recipe for Nth Ascension. Planted first by Alan ‘Spud’ Taylor as a childhood dream and later joined in the field in 1984 with the likes of Robert Stirzaker (Counterparts) – Drums, Martin Walker (Nth Ascension) – Guitars,Andrew Keeling (composer) –Keyboards, and in 1986 Darrel Treece-Birch (TEN and Nth Ascension) – Keyboards would eventually lead to the origins of NTH Ascension in 2010.
By 2016 the current line up of Nth Ascension would be complete with Alan ‘Spud’ Taylor – Vocals , Darrel Treece-Birch – Keyboards , Craig Walker – Drums & Percussion , Gav Walker – Bass , Martin Walker – Guitars. This line up is full of long progressive atmospheric compositions and instrumentally technical prowess. The band ranges from traditional progressive rock of the 1960’s – 1970’s with the neo-progressive sensibilities of the 1980’s and the more electronic and technical elements of the 1990’s – 2000’s. However what the separating factor is with Nth Ascension compared to their peers and contemporaries is the lower than normal vocal register of its leader Alan’Spud’ Taylor. His vocal register has a little of Michael Sadler (Saga), Matt Barlow, (Iced Earth) with a twist of the legendary John Wetton (King Crimson), this makes for a very distinct vocal apart from the rest in the progressive community.
Nth Ascension have returned with their second album In Fine Initium and are officially making their Melodic Revolution Records debut as well. In Fine Initium’s sound, I believe, is a look into progressive rock’s future by using well established progressive rock and metal staples. You know that power progressive rock, slightly heavy melodic metal. I admire the fact that Nth Ascension can not be pigeonholed nor typecast into a solid particular genre. They are the type of band with the appeal to reach a little bit of everyone within the progressive rock or even classic rock communities.
The album opens up with a explosive epic in Kingdom Keys.
Kingdom Keys opens almost like that of a film score or movie soundtrack with every instrument in harmony with one another to make a bold passage. The band comes out firing on all pistons here. Soon there is a break in the music and the warm vocals come into play. At around the 4:00 mark the track goes through various time signatures and identity that gives the band their unique progressive sound. With thunderous rhythm section on top of a deep symphonic keyboard and guitar stringed section that gives the song two different sides, Kingdom Keys certainly is a great foundation track to begin the album with. On the way towards the end there is a semi spoken word section which the band double tracks. It is a nice bridge keeping the song going.
End Of Days begins with a heavy brooding atmosphere created out of the fingers of Darrel Treece Birch. Soon a traditional straight away progressive hard rock track emerges to open the track up more. Like Kingdom Keys, End Of Days has a very movie soundtrack style to it. On top of the heavy keyboard there is a very deep tuned down feel to the rhythm section. Lyrically it is a song of redemption and positivity About the 4:30 mark the track goes through time signatures that also serve as mood changers for the objective listener. The 4:00 outro takes the listener from the summits of the stringed section to the valleys of the rhythm section equally and at times concurrent to one another.
So, That Was The Apocalypse is a instrumental track. It consists of deep rhythm sections with a flair of vintage progressive rock Hammond style organ. This sounds like old school Bad Company and Foghat meets Yes. It has both the straight up classic rock vibe with progressive elements and standards. This serves as a perfect bridge track for The Cage.
The Cage starts with a beautiful piano intro that is quickly joined by both drums and bass in the rhythm section. The guitar comes in to give the track a added atmospheric passage. Soon all instruments lead into the open lyrical verse and the band sounds like a well oiled machine at this point. The Cage is ‘The Epic’ on the album. This is a true roller coaster of the audio senses as it goes in and out of explosive rock passages met with a taste of ballad. Especially at the 5:00 mark where the track takes on layer upon layer of various atmospheres between the keyboard and bass and cymbals. The vocal takes on a David Bowie ‘Space Oddity’ style during this time. Around the 7:00 mark the instrumental takes various curves along the rhythmic highway with neo-progressive road signs with the various chord progressions and time signatures employed by the band. The instrumental rhythm sections are practically AOR/melodic metal in their very nature.
In Search Of The Rider (Clanaan Part 4) picking up where Nth Ascension’s first album Ascension of Kings, In Search of The Rider (Clanaan Part 4) is a epic song that will span over several albums much like Dream Theater did with the Bill W. AA Suite over several albums. The band does a excellent job picking up in the continuation of this story. This also is a very good middle track in that it feels like more of a transitional track towards a much bigger portion to the epic. This also serves as the perfect ‘batton-track‘ in that In Fine Initium continues the story appropriately where Ascension of Kings left off.
Forever (Clanaan Part 5) continues the epic journey with a great rhythm drum fill and a lush atmospheric keyboard passage. The guitar work borders along the lines of Pink Floyd meets Saga. This track is very well balance and also serves as a bridge track within the greater picture of the epic that is Clanaan as a collective. This track has a lot of modern progressive elements as well.
When The Rainfalls (Clanaan Part 6) is the paradox, it both ends the album and continues the ongoing story of Clanaan. This is a lush semi electric guitar track met with warm vocals much like a full ballad.
Nth Ascension have sure opened up more possibility of how progressive rock and music in general sounds. In Fine Initium is yet another evolution into progressive rock’s future by blending the past with the present. This album should provide for a solid set list in live settings. Nth Ascension’s In Fine Initium gets a 4.5/5.
For well over 20 years Evergrey have maintained a steady and progressive growth as a band and as songwriters. When some of there peers have either broke up or have lacked in maturity, Evergrey still grows and blossoms how they are planted. Tom Englund – Vocals/Guitars has also maintained a clear vision for the direction of the band he and Don Bronell founded in around 1995.
Anyone who knows about Sweden’s metal scene over the last 20+ years will know that Evergrey either shared in a renaissance of music growth with the likes of countrymen like Pain Opeth, Arch Enemy, Pain Of Salvation, In Flames, etc, or they have changed their sound progressively or even personnel changes. Everygrey have certainly been through this growing pain process, however with one of the most under rated band leaders, vocalists, songwriters and man of vision in Tom Englund,Everygrey have certainly weathered many storms in their 20+ years.
In 2016 the band has returned with The Storm Within, their second release from their new recording label home AFM Records. With The Storm Within, Evergrey have certainly removed any ‘sophomoric – jinx’ that may of happened coming off the widely acclaimed and highly successful offering of 2014 Hymns For The Broken. The classic Everygrey lineup also returns with The StormWithin as well as it did with Hymns For The Broken. The Storm Within sees the band pick right up where they left off with Hymns For The Broken. This is uncompromising, free spirited and mature progressive metal. Here are some highlights from track to track of The Storm Within.
Distance begins with a very dark melodic isolated piano passage before exploding into a riff frenzy. There is a lot of depth between the rhythm section on both side between the stringed section and bass/drum section. There are also very solid concurrent running vocal harmonies that run with the depth of the rhythm section. Most of this track rests on the vocal harmonies with the band and children’s choir towards the outro and guitar solo’s that interchange in and out with swift time signatures. I see this track as a track the band can do a lot with live in concert with adding the children’s choir. Maybe potentially backed by a orchestra if the band chooses that direction.
Passing Through opens up with a blistering rhythm guitar passage that is accented with lush keyboard highlights. This is a straight away progressive metal track that most metal listeners will be able to adapt to. Tom’s vocal matches the chord progressions in the rhythm section to really place a emphasis with that part of the track. There are some very mature and soulful guitar solo’s within this track as well. The time signature interchange is very spot on towards the objective. Lyrically it is a story of temporary lifestyle events.
Someday begins with a dark passage as if a army are brooding down on their opposition. The rhythm section is very heavy handed with quality of depth and maturity. The vocals once again play up more towards that rhythmic section than the stringed section. The vocals have a depth of warmth to them that really invite the attention of the listener. There is a break around the 2:30 mark that showcases the lead guitar as a instrument that works towards a simulated vocal that matches up to the main sung vocal. The guitar solo’s really tighten up about now showcasing the bands vision for the album.
Astray is definitely one of the more heavier tracks on the album. It explodes with a fierce and heavy rhythm section compounded with a shredding string section. The keyboards accent certain points and highlights within the heavy frenzy. The rhythm section walks the fine line towards a thrash metal section with progressive elements. Once again the band really pays attention to detail with the vocal harmonies as well as the well engineered guitar solo’s.
The Impossible starts out with a dark haunting piano passage with a warm vocal passage to keep the listener anchored into the album. There is a hint of the presence of a violin in here that continues to showcase the bands maturity and depth. This is the track that really sounds like the more diverse track of some of the album. I would not call it a ballad although it carries some of the qualities that a ballad would.
My Allied Ocean definitely opens up into a progressive thrash metal frenzy. A fierce and blistering one at that. I mean the rhythm section is heavily brooding and totally relentless. If that band does not have the attention of the listener yet, I believe they do now with My Allied Ocean. This track takes both right channel and left channel in the sensibility of the listener and puts it front and center in the theater of the mind of the listener. The dark content of the lyrical half certainly is a perfect compliment to the relentless instrumental half of the track.
In Orbit (Featuring – Floor Jansen) is the first of two tracks that feature current Nightwish and ReVamp vocalist Floor Jansen. It is also the first time since Ayeron’s 010110010 in 2008, that Floor Jansen and Tom Englund appeared on anything together. This one opens up with a very dark symphonic core with the appearance of a female chant in the background either provided by keyboard or Floor Jansen herself. Floor Jansen adds a very beautiful feminine side to this track while maintaining to integrity of the distinct Evergrey sound. I really like how the band wove both progressive and dark symphonic metal together for this track.
The Lonely Monarch is probably the more pop friendly track on The Storm Within. It opens up with a passage that is very easy to listen to. This track display’s Evergrey’s ability to appeal to a larger and more objective audience. This track is very melodic metal based by nature with the keyboards allowed more room to breathe and be displayed. It also carries great guitar solo’s with hook after hook. The verse, bridge and chorus are all on a more melodic backdrop than a progressive one on The Lonely Monarch.
The Paradox Of The Flame (Featuring Carina Englund) is perhaps the best and most profound love letter I have heard in the last 30 years I have been into progressive metal. The masculine and feminine parts really cut to the core of the listener. This begins with a beautiful piano passage that soon is picked up by the very warm side of the lead vocals. It really catches fire when CarinaEnglund enters in with her feminine vocal quality that gives this track a two teir sound in one track. Her voice is as warm as Tom Englund’s. This is a progressive masterpiece in of itself because this is rarely done in the industry at this level of excellence. This one really took me by total surprise. The violin really makes this a dark romantic tale at the highest levels.
Video Courtesy of: (AFM Records Official YouTube Channel) Disconnect (Featuring – Floor Jansen) obviously marks Floor Jansen’s second vocal appearance on the album. This one really opens up with a blistering heavy handed rhythm section with the vocal range really extended. Floor Jansen presents a wonderful and tasteful operatic chant in the backdrop of the blistering frenzy in the intro. This is certainly one of the heavier tracks on the album much like Astray and Passing Through. Floor Jansen also is like a one woman choir with how the band engineered and arranged this track. The solo has a epic quality about it as well. At the 4:10 mark manipulates the audio senses into hearing two tracks into one with the brilliant engineering done to it.
The Storm Within the self titled track of the album begins with a classically based intro due to the great rhythm section work at the very beginning. This is also arranged very well as the closer on the the album. With The Storm Within as a track you get a little bit every element presented in the ten previous tracks on the album. This is like a audio summary of what the listener just experienced allowing for the album as a collective to really settle into the senses of the listener. This is a track about inner self struggle on the lyrical side of it. The vocal harmonies really carry this track to entire different dimension.
After closer inspection this album is perhaps one of the most mature and well written albums I have heard in at least 15 years. Evergrey continue to grow as a band, which is what makes them one of the very top prevailing standards in dark progressive metal. Evergrey continue to show more and more maturity with every album surpassing even some of their peers and even bands before them. Evergrey’s The Storm Within is a rock solid 5/5 and already a Top #10 if not Top #5 of 2016 for me.
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