Take a part of Subsignal, a part of Sieges Even, two parts Marillion , a squeeze of IQ , Kino and Jadis and you have the recipe for the United Kingdom’s own Drifting Sun. A band that started in the early 1990’s when progressive rock and metal was getting a second wind off the likes Dream Theater,SymphonyX, Vanden Plas and Threshold, the band have stayed primarily independent their entire tenure. With a handful of major projects, singles and EP’s styled releases under their belt, Drifting Sun have returned in 2016 with their newest release Safe Asylum.
While some progressive music has gone entirely metal, djent, into death metal realms, Drifting Sun have decided to go back to fundamental progressive hard rock that has seemed to hold the story of progressive music together. Coming from the country that gave birth to the progressive rock world in the United Kingdom in keeping the band grounded I believe. This is a band that gives the appearance of a independent spirit as they are self financed and distributed.
This album does require a thorough full listen in the beginning. The band do not come out of the chute if you will with over the top virtuosity. Drifting Sun are a more total song structured band. The first two tracks King of Hearts and The Hidden Truth require some patience. The patience given to Safe Asylum is rewarded as every track improves and gets more and more unpredictable as the project progresses. Things get really going around the third track Intruder, which is where I will begin my further analysis of Safe Asylum.
Intruder opens up with a lush cinematic and atmospheric keyboard that is soon met with a steady rhythmic section. A spoken word portion is met in there until the main melodic vocal comes in. The vocal reminds me a lot of Marillion’s Fish meets Sieges Even’s Arno Menses now of Subsignal. The rhythm and melodies are almost like a soundtrack to either film or television. The Keyboard really has a heavily neo-progressive accent on it much in the vein as their contemporaries in America Enchant. Towards the middle of the track to the end it takes a more progressive ambient metal turn much like early 1990’s Fates Warning.
Alice begins with a great acoustic guitar passage met with a lush full piano to round out a great stringed intro. Soon the high vocal comes in with almost a melodic story. Between the stringed section and the vocal there is clarity of sound. Alice is more of a ballad for Safe Asylum. There is even a nice violin almost in the vein of Dust In The Wind by Kansas.
Wonderland begins with a subtle and full keyboard led stringed section. Soon the drums come in more as a percussive instrument in the underlying area of the stringed section. The drums soon kick in with the bass for a more traditional rhythmic section. Lyrically the vocals interchange in and out with some vocal solo’s met with full vocal harmonies. Wonderland reminds me a lot of Easter from Marillion. The track takes a more aggressive approach in both the instrumental melody and vocal harmony in the middle. Wonderland also showcases a very distinct and deliberate guitar solo more then the tracks leading up to it. About the 6:30 mark the bands elemental sound is a little like Dream Theater’s Voices from Awake.
Gods starts out with a nice tight acoustic guitar intro that is soon met with a very tight vocal harmony. The vocal harmony in almost like a mini choir. It has many backing vocal effects that run with the main vocal. One subtle moment you are moved by a deep rhythm section between bass/drum. There is some innocence about this track with the baby vocal effects as well. The flute simulation towards the end presents a full instrumental outro.
Desolation begins once again with a heavy keyboard passage that is met by a more traditional progressive rock passage as the guitar, bass and drums come in. The vocal’s once again have a dynamic where they interchange from a single led vocal to a more choral vocal. Desolation also has a guitar solo that sounds more like a vocal at time than a instrument.
Retribution starts out with a deep drum/bass rhythm section. This is a more dark track with the tuned down rhythm guitar and Hammond style organ. This is a very up tempo track with many unpredictable riffs and time signatures. This is a more Deep Purple meets Yes track here. There are some great vocal harmonies within the track as well.
Emphasis is a short 1:12 track more like a extended segue into the last and final track Vegabond. This track is one guitar solo basically.
Vegabond starts out with a light piano melody. Soon the guitar kicks in as well as the drums to fill the track in. The guitar is more of a solo style compared to a rhythmic one. Vegabond is a full instrumental that finishes Safe Asylum.
Although it takes some time and patience Drifting Sun’s Safe Asylum finds a way to get on point. This is a album for the progressive purist. If you are one of those listeners that only listen for a few songs, Safe Asylum is not for you. If you are a album oriented listener that listen’s to the entire album than this is a album worthy of consideration. I give this a 4/5.
Label: Independent/TRP Release Year: 2016 Country: International Genre: Progressive Rock
Band Members
Steve Hackett – Electric & Classical Guitars David Jackson – Saxophones & Flutes Billy Sherwood – Bass Guitars/Drums & Electric Guitar Vincenzo Ricca – Keyboards With Riccardo Romano and Daniele Pomo of Ranestrane, Mauro Montobbio and Luca Grosso of Narrow Pass, Franck Carducci, Paolo Ricca. Special guest appearance by Joanna “Jo” Lehmann Hackett – (guiding voice on “Of Fate and Glory”).
I have heard concept albums that touch on the time of The Roman Empire over the years. It is usually mentioned in a lyrical form telling a story verbally. Never before have I encountered a almost strictly instrumental conceptual album exclusively concerning The Roman Empire until now. Vincenzo Ricaa -Keyboards and a all star line up of Yes’Billy Sherwood and Steve Hackett to name a few have released a album called The Rome Pro(G)ject Of Fate And Glory.
The Rome Pro(G)ject Of Fate And Glory, is all about the origins, the growing pains, the betrayal and the expansion of the most advanced empire within the history of the world. However the story is told through the emotions of the individual tracks that brilliantly run concurrent with smooth transitional segue’s from one track to the next. To have a subject as complex as the Roman Empire in of itself with lyrical content telling the story would be enough for normal artists. However to take the huge risk of attempting to convey such subject solely on its instrumental merit alone would appear to be madness and lunacy to the average listener.
I will not lie to you the reader and potential listener, this will require a huge open heart and objective mind along with some general research of the subject of The Roman Empire to grasp it as the artists intended. To those that are either history enthusiast’s or those who just enjoy quality instrumental progressive rock, you are in for a treat with this album. There are 11 tracks that encompass this brilliant and intelligent soundscape atmosphere. The project itself has a traditional progressive rock backbone with modern neo-progressive elements. This is just a massive challenge on a instrumental level to tell the almost 900 year history of the Roman Empire.
The album opens up with by Joanna “Jo” Lehmann Hackett – (guiding voice on “Of Fate and Glory”). Here she is very eloquently articulate in her description of the origins of the Roman Empire. It gives the listener the appearance of a introductory playbill to a stage play as she dictates the coming tracks on the album. This track would lead up to the following track The Wolf And The Twins.
The Wolf And The Twins begins as a lush keyboard led piece of music that quickly moves into more traditional progressive rock layers and atmospheres. This track is highly on the neo-progressive side. It is arranged in such way however where it just sounds like the origins of something to come. The drums/bass rhythm section certainly anchor this one.
The Seven Kings Of Rome opens with a nice lush keyboard and obvious bass/drum rhythm section. They participate on a interchange of various off and on time signatures. This track is one of the more evolving tracks. There is a great set of bridges and passages played in such a way that it never sounds the same throughout the project.
Seven Hills And A River opens up with a solemn ans subtle harp. This is accented with a lush ethereal atmospheric keyboard section giving the track more and more depth as it progresses. Soon a very smooth yet subtle bass/drum rhythm section runs perfectly concurrent with the lush stringed section between the keyboards and harp. In this track I finally here the harp presented the proper way in progressive rock. The harp does not really need a classical register to be used effectively. The harp can be utilized in the stringed section as much as any 6,7 or 12 stringed guitar can and does. About the 6:45 mark the keyboards in a very uncanny way are used to represent a human style choir.
Forum Magna opens with a subtle flute that is soon carried away like the wind with a lush straight forward keyboard atmosphere. The keyboard sets up a little darker progression and time signature. This track is all about the the keyboard atmospheres with the bass/drum rhythm section coming in as a novice element. It makes one feel like they just entered into the great Roman Forum with a celebratory elation behind them. The flute and other horned sections compounded with the lush keyboards give this track a very traditional classical sound through the filter of current progressive elements. S.P.Q.R opens with some great guitar atmospheric work. The guitar is like that of a vocal that is trying to tell a story along with how the keyboards interchange with the guitars. This one is definitely a more guitar oriented track. Once again the rhythm section of bass/drum come in only as needed and do not overwhelm the main objective with the guitar telling the story as the center of the track itself.
OVID’S Ars Armatoria begins as a sweet flute solo that is soon met with a great tight rhythm section. The bass starts to become a focal point in this track. Not some much a overwhelming focal point however it is really the backbone among the lush stringed and horned section in harmony with one another. The horned section really comes in strong towards the end of this track with the keyboard sounding almost like a vintage 1970’s style Hammond.
Augustus (Primus Inter Pares ) once again starts with a refined horned section to perfectly match the guitar and keyboard stringed section. In this one it would appear that the stringed and horned section play with perfection with off time signatures yet still achieving the main objective to the track. The rhythm section has quite more of a classical sound to it as well. This track even walks into some areas of contemporary jazz. At this point the project as a collective starts to take shape more as a symphony jazz orchestra.
Haidrianeum opens up with a lush dark and heavy passage as if a mist or fog is settling on Rome. It takes the listener slow yet steady. The guitar once again acts like more of a vocal voice even more so as the darker elements continue to carry the backdrop of the song. The keyboard simulates the sound of a choir as the guitar manipulates the ear into thinking it is a voice.
The Conquest Of The New World (Traianus) starts off in much the passage as the first track Of Fate and Glory giving the listener the full appearance and confirmation that although being a instrumental, the album and project is still a conceptual album. This track re visit’s various passages the listener just experienced.
I will have to say that doing a instrumental concept album on the Roman Empire was very risky. If the listener loves history or just great instrumental progressive rock, this is the album for them. This must be approached with a open and objective heart and mind. This album is not for everyone. I am giving this one a 4.5/5 for sheer effort and world class musicianship.
Robert Ernlund – Lead vocals Anders Wikström – Lead Guitars and vocals Pontus Egberg – Electric Bass and vocals Patrick Appelgren – Keyboards and vocals Jamie Borger – Drums
Over the last 30+ years AOR, melodic hard rock, melodic heavy metal have certainly interchanged and mixed from time to time. In the United States and North America in general we have seen bands like Journey, Styx, REO Speedwagon, Survivor, Toto etc , gain world wide success on the AOR front. Some progressive acts from the 1970’s like Yes and ASIA even adopted elements of the AOR sound to remain relevant on the charts. Then something began to happen with the pop metal or glam metal started developing really high quality yet sometimes cheesy videos.
Some heavy metal and aspiring hard rock bands that did not want to be branded with the cheese factor morphed into Melodic Metal/AOR bands. Soon bands of the older guard like Bad Company with Holy Water,Joe Lynn Turner era Rainbow(1980-1984), later Honeymoon Suite, Bohnam and Giant would begin to add some heavy metal elements, some progressive elements and the real backbone of melodic emphasis. By melodic emphasis I mean big range lead vocals and backing vocals to match note for note harmony to any given composition. Finally you had bands that were able to combine all these elements like Bad English, Firehouse, Steelheart, Mr. Big and Treat.
Although they may of went a little under the radar here in North America, Treat were huge in Europe and especially Japan. In 2016 Treat are better, heavier, and more melodic than they ever have been. Their Frontiers release Ghost of Graceland has proven that Treat are still a powerhouse band to be reckoned with. Ghost of Graceland proves that a band can age really well like a fine wine and still write, record and produce a album on their terms without it sounding dated.
Treat’s Ghost of Graceland has a little bit for the pure melodic rock, AOR, melodic metal fan. It is compiled 12 tracks for the standard release or 13 tracks for the exclusive Japanese Edition. This review is brought to you courtesy of the Japanese Edition. The band opens up the album with a straight away blistering yet melodic self titled track Ghost of Graceland. The track Ghost of Graceland starts with thunderous riffs and rhythm section before going into a more level melodic passage. Ghost of Graceland is very tight on the harmonious interchange between lead vocal to backing vocal.
Moving forward the vocals of Robert Ernlund– vocals are done with such precision and clarity. He has certainly maintained his range while many of his contemporaries have started to struggle. Anders Wikström: Lead Guitars and vocals Pontus Egberg: Electric Bass and vocalsPatrick Appelgren Keyboards and vocals all join Robert Ernlund with a mini choir and such spot on accuracy throughout tracks like I Don’t Miss The Misery, Better The Devil You Know, Inferno and Alien Earthlings, etc… that carry a very heavy melodic riff and rhythm section that all focus around the backbone of the band Jamie Borger: Drums.
On Ghost of Graceland you will find many more straight away melodic metal, AOR and some heavy metal throughout the entire album. There is really only two true ballads Do Your Own Stunts and the other on the album being Together Alone, which on the Japanese Edition that I am using on this review, shows up as a piano based track as a extra Japanese release only at the very end. The one main focus I keep hearing on the album is the storytelling element within each song and composition.
Some have said it is all production. I disagree with that. I believe the band placed a higher emphasis on the writing and tracking thus making the production much easier. The band not only focus on good storytelling but they also place a emphasis towards the melody, vocal harmony and even the instrumental to vocal harmony elements. The sound is a modern sound no doubt. Not too many bands of their genre or community from 30 years back can really claim that their sound has progressed forward in maturity and structure. Treat are one of the few that have not went backwards. 30 years later they still continue to leave their mark on melodic metal/AOR/progressive rock. Treat Ghost Of Graceland gets a 4.5/5 for progression and maturity.
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.
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