Since 2003 Theocracy have worked to establish themselves as one of the premiere prog/power metal bands in the world. Started as a one man project by Matt Smith – Vocals, Theocracy began to gain both critical acclaim and started to grow its audience. As a result the band also grew to include Val Allen Wood – Lead Guitar, Jonathan Hinds – Guitar, Jared Oldham – Bass, Shawn Benson – Drums. Starting off with their first self titled release Theocracy in 2003 the band would gain such praise with its power progressive metal and positive lyrical message that it would even result in a performance at Prog/Power Festival USA in their own backyard in Atlanta, Georgia.
Throughout the years since they have released a powerful body of work to include 2011: As the World Bleeds – Ulterium Records 2008: Mirror of Souls – Ulterium Records , 2003: Theocracy -Metal Ages. Their success would even place a high demand on a reissue of their self titled 2003 release Theocracy which was reissued by Ulterium Records in 2013. On the heels of their last release in 2011 As The World Bleeds, Theocracy make a long awaited and anticipated return to the global prog/power metal stage with the soon to be released Ghostship in 2016.
With Ghostship the band has shortened things a bit in the length of their songs while maintaining the integrity and focus of the band’s signature sound. The compositions stand alone yet never lose the main objective nor focus the band has always aimed for with their fans. It is with the shorter more gritty and heavier compositions that will also have appeal to a listener that is a newcomer to the work and sound of Theocracy. With that all said let’s take a look at some highlights from Theocracy’s Ghostship.
Paper Tiger opens up with thunderous rhythm section that blisters the ears wonderfully. Soon Matt Smith comes in with a powerful vocal presence. This is full of rhythm based hooks and melodies that are matched perfectly with well timed vocal harmonies. This track is a very power metal based track much in the vein of a Blind Guardian or Gamma Ray. The guitar solos are a total shred fest and will appeal to those fans of virtuoso style playing. The guitar solo’s have some various different time signatures.
Ghostship the title track of the album once again continues the bands streamlined objective with thunderous rhythm riffs and sections. The vocals really maintain with the same intensity and muscle ans the instrumental melodies. The vocals also really maintain wonderful lead and backing harmonies that exchange in and out of one another. The double blast beats also reinforce the muscular melodies. The guitar solo’s also have the hallmarks of prog/power metals past and remind me much of Crimson Glory’s work.
The Wonder Of It All totally blisters into a monster rhythm section of big double drum blast beats matched by a thunderous bass that is utilized both as a melodic instrument and a percussive instrument. This track has some serious Iron Maiden style with the galloping rhythm based progressions. In the midst of the thunderous rhythm section there are some very beautiful vocal harmonies that accent this track. The band establishes more of a European sound than that of a American sound on this track.
Wishing Well begins with a nice keyboard passage that is soon met by a more traditional progressive metal rhythm passage. This track slows things down a bit and stays more progressively based with more time signatures and changes instrumentally. It is met perfectly by traditional progressive metal vocal harmonies. The vocals set wonderfully in sync with the double blast beats with the drums. The guitar solo’s go in and out from crunchy muscular rhythm based to atmospheric chord progressions.
Around The World And Back starts out with a music box effect. The clear vocal soon comes in with a warmth soulful presence. The vocal harmonies anchor this one to a more streamline somewhat commercial sound. This track is very appealing to most progressive/power metal audio pallets. It also reminds me a radio friendly track much like Dream Theaters Another Day from Images and Words. This track has potential to be a live set staple for the band going forward.
Stir The Embers returns to the bands main streamline focus on Ghostship with gritty strong muscular rhythm based sections. The guitars really add to the muscle of this track and stay in a more rhythmic fashion. The vocals stay in step with the rhythmic backbone to the album. The solo’s also continue to shred as well. at the 3:10 mark there is a nice break with isolated drum passage in harmony with the lead vocal.
Call To Arms starts out almost in a old school heavy metal fashion with just a isolated guitar met by a very intricate rhythm based time signature. There is some interchange in the entire rhythm section. The vocals are almost a anthem and call to arms. This has such vocal harmonies that it has potential to be sung by audiences in the band’s live sets. It is also confirmed by the lyrical content.
Currency In A Bankrupt World takes off with a very easy to follow passage of instrumental and vocal harmony balancing one another. The band has really established the interchange between the instrumental and vocal in harmony by this point. It has some nice breaks instrumentally to allow room for the lead vocal to have room to breathe so the listener can follow the lyrical message as well.
Castaway starts out extremely blistering and is almost a power thrash metal intro. It is much in the vein of a Iced Earth rhythm section. This track is a straight away deliberate heavy track. The vocals even have more bite on them in both the lead and backing vocal. The band is able to accomplish this while staying on track with their main objective and focus. The guitar solo’s are totally insanely furious as well.
Easter sees the band somewhat return to the longer epic with its 10+ minute length. This starts out with a beautiful acoustic guitar that is subtly met with a electric guitar. Meanwhile in the midst of that passage the lead vocal takes a brief isolation before all instruments fire up on all cylinders. The track goes in and out of heavy power chord progressions with more slower balanced progressive passages. The vocals harmonies are absolutely stunning and really carry this track to the soul of the objective listener. The stringed section solo’s are obviously a little longer making the track a true journey to the inner audio portions on the listeners mind.
I believe Theocracy have certainly returned with a very powerful statement with Ghostship. This album will open more doors for the band to attract newer listeners and fans and reinforcing the fan base already in place. Although Ghostshipis their forth offering it will bring newer people to the fan base where they will go back and start to discover their previous albums. This album is also a testament that the band can make something different that will be more appealing on a bigger scale. I give Theocracy’s Ghostship a 4.5/5 .
If it can be written, or thought, it can be filmed – Stanley Kubrick
There is a lot of truth to that quote by the late great filmmaker Stanley Kubrick. This especially holds true with certain progressive rock conceptual albums as well. Marco Ragni’s Land Of Blue Echoes seems to paint a contemporary science fiction film in the theater and arena of the mind of the listener. Much like Mother From The Sun which we examined in the first installment of this Melodic Revolution Records series, Land Of Blue Echoes also is a very well written and well crafted conceptual album containing elements of traditional progressive rock, psychedelic rock, hard rock and classic rock.
Marco always seems to mix all the elements mentioned into his own distinct Italian flavor of progressive rock. Marco Ragni also seems to continue the rich Italian progressive rock that seems to not get enough credit ahead of its Prog Rock Britannia or German ‘Krautrock’ contemporaries. The major difference from Mother From The Sun and Land Of Blue Echoes is that Mother From The Sun was a more autobiographical concept album as compared to the lighter science fiction subject matter on Land Of Blue Echoes.
Land Of Blue Echoes is both a visual and audio delight that touches all the senses. It has more of a film score approach and display’s Marco’s ability to enter into the world of soundtracks. Marco manages to do all this with a unique perspective where it does not ever sound like what every other artist or band is doing. Marco’s style is totally distinct and you know it is him when you hear him. Now a little look at the Earth with its relationship to space in Land Of Blue Echoes. Between The Moon And Earth starts out this epic voyage into space with a spoken word effect as if it were right out of a science documentary. Soon a blend of psychedelic and progressive rock takes the track into more of a instrumental simulating a true voyage through space.
Horizons continues as an instrumental into interstellar space with wonderful fluid bass/drum rhythmic sections and neo progressive keyboards. Around the 2:30 mark the track takes a spoken word section that makes for what life is perceived as on earth. The beautiful lush isolated piano and fuzzy distortion on the guitar provide for a melodic sense of a desolate land around the subject. About the 8:00 mark the percussion adds for an additional effect that continues with the well executed layers Marco is known for. From there the track takes the listener on a melodic roller coaster of various time signature chord progressions in and out. The unpredictable twists and turns make for a highly interesting listen. The guitar solo around the 11:11 mark is one of remarkable psychedelia progression.
Land Of Blue Echoes the title track to the album instrumentally explores a more old school fuzzy distortion within the stringed section with the guitar. Lyrically it is a testament to just how well researched Marco Ragni is in the subject of astrophysics and science fiction. In the arrangement of the album it is a little epic within the album.
Money Doesn’t Think starts off in a funk style groove almost in the vein of a progressive Parliament Funkadelic and George Clinton of the latter 1970’s. It soon kicks in much like the era of Syd and psychedelic Floyd ala Meddle and Atom Heart Mother era. It soon takes on the predominant funk and groove laden fusion progression and passages. This is really a fun listen and could possibly be a gateway track for newer listeners discovering Marco Ragni for the first time.
Canto D’ Amore . starts out almost in the vein of a Dead Can Dance old world medieval 16th century renaissance with a modern psychedelic twist. It is very folk based in the stringed section. The track also takes a slight yet subtle romantic nuance about it with the emotional vocals of Marco himself.
Deep Night takes on a really strong and heavy ambient passage from the get go. This track also features the legendary Durga McBroom from legendary Pink Floyd albums as Darkside of The Moon. Her voice lends such beautiful soulful layers. It is a moving piece and one that will certainly have appeal with older progressive rock audiences. Lyrically it pulls on the heartstrings.
Beltane is really heavily folky sounding with a almost Celtic style of the Greek Bouzouki. Marcos voice conveys spot on emotion in harmony with the lush acoustical and semi electric guitar layers in the stringed section. Marco’s vocals are also executed with such conviction you are drawn in subtly into a melodic paradise of modern progressive bliss. The guitar solos are some of the best in all of prog today. They are very atmospheric and allow the listener to get accustomed to the layers.
Nucleus Parts 1-8 starts out with a heavy space rock vibe before the crunchy distortion of the guitar comes in and takes it to a straight away progressive hard rock area. Once again Durga McBroom adds a feminine yet soulful presence in the vocals with chants. Durga has a very uncanny ability to convey such deep emotional conviction within her voice. Marco comes in with just as equal emotion in his vocals. Between the fine instrumental musicianship in harmony with the soulful vocals, this track takes on a mini album/ep within a album. The fact that it is a 22:46 track gives the listener and even newcomer to Marco’s music a little example of a lot of his world class songwriting and musicianship. It is a intelligent expression of art through the filter of music. The vocals harmonies could even move the so called non traditional progressive listener with just their classic rock quality added to them. Nucleus parts 1-8 is also like a mini melodic novel lyrically. Peter Matuchiniak really adds a exclamation point on the lead guitar with layers and atmospheres appealing to the classic and progressive purists. This track really has a little bit for everyone with its journey.
Queen Of Blue Fires is a track based around introspection and one who is isolated. The character in it seems content with his or her view from where he or she is. In its isolated lyrically content it is perfectly complemented and offset with a very upbeat and uptempo instrumental portion that is beautifully accented with a nice vintage Hammond organ style anchoring it. It certainly seems that Marco Ragni always changes gears and is able to provide a different album yet under his own distinctive sound with every release. He continues a rich yet highly underrated Italian progressive lineage that rivals anything coming out of the United Kingdom with Prog Rock Britanniaor Germany with Krautrock. His ability to attract other world class guest musicians also serves as a testament to his great talent. Much like with Mother From The Sun, Land Of Blue Echoes has once again impressed. I give this a 5/5 for sheer originality and careful attention to melody and harmony.
The Mute Gods | Do Nothing Till You Hear From Me 2016
Label : InsideOut Music Release Year : 2016 Country : International Genre : Progressive Alternative Rock
Band Members
Nick Beggs – Bass/Chapman Stick/Guitars/Keyboards/Vocals/Programming Roger King – Keyboards, Guitars/Backing Vocals/Programming/Production Marco Minnemann – Drums/Percussion/Guitars/Sound Design
Nick Beggs has been a true tour de force in music for the better part of 35 to 40 years now. In recent years he has shed his pop rock wings in the 1980’s for a more progressive flight in his musical and creative journey into the 21st century. He has had a dream resume playing with the likes of IONA, Steven Wilson and Steve Hackett to name a few. However up to this point he had never done anything of his own accord. Finally Tomas Waber at Inside Out Records brought the idea to Nick Beggs himself. A period of thought and consideration finally resulted in the name The Mute Gods.
After settling on The Mute Gods for a name, Nick Beggs would proceed to to hunt band members to share his musical and creative vision. On drums he did not have to search too long. He would enlist his Steven Wilson bandmate Marco Minnemann. To round out the band he would enlist the services of world renowned musician known for his work with Steve Hackett, Roger King – Keyboards, Guitars/Backing Vocals/Programming/Production . The Mute Gods were set.
In 2015 and throughout portions of touring with both Steven Wilson and Steven Hackett the respective members would come up with the debut album The Mute Gods Do Nothing Till You Hear From Me. The thematic concept of the album is basically the world view of Nick Beggs. While some listeners may come to the conclusion that the project is a list of conspiracy theories out of the strange, I see it as the creativity of a true modern musical genius with a lot to say. Another thing I appreciate and respect with this album is Nick Beggs refuses to be pigeonholed in to genre stereotyping. For the true progressive fan or fan of great music in general, there is a lot going on through the duration of Do Nothing Till You Hear From Me. Lets look a little at The Mute Gods Do Nothing Till You Hear From Me.
Do Nothing Till You Hear From Me opens with a special effects passage that mirrors and appears as someone is tuning in a radio or television set. It contains a great fluid rhythm section that is in a very heavy post progressive rock element. For a band whose members are more accepted for their instrumental prowess, their is some really tight harmony happening within the vocal structure and the relationship of the vocal and instrumental as well.
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Praying To A Mute God has a nice fluid rhythm opening section. The bottom rhythmic passage is very heavy. Not in metal heavy, but in heavy prog. The chorus and verses have a very clean pop sensibility without losing any purpose to those listening for progressive rock reasons. Roger King’s Hammond organ reinforces the heavy rhythmic passages and elements. The track takes a wicked off time signature solo about the 3:38 mark. The rest of it is a straight away progressive rock track.
Nightschool For Idiots is one of those tracks that is melancholic instrumentally but full of life lyrically. On many levels both as a musician and just a individual the listener can identify with the track. Lush keyboard atmospheres meet with heavy rhythm elements throughout the duration of the song. The vocals may be soft however serve the greater purpose of the story being told.
Feed The Troll begins as something out of science fiction with certain keyboard generated effects before exploding with the main backbone passage. That main backbone passage is one of a thunderous bass/stick oriented rock met with more synth atmospheres. Science fiction effects and elements move in and out with grace throughout the track and arrangement. About the 2:25 mark the track presents some wicked effects as one breathing through the vacum in interstellar cyber space. The story is very much of that of cyber stalking on all levels.
Your Dark Ideals starts in a heavy prog rhythmic sensibility. It relies more on the verse /chorus /verse in a straight up progressive rock track. There is some great harmony and melodies happening all through the track. There are some perfect back harmonies playing off the main harmony vocally.
Last Man on Earth opens as a ballad. It has a basic song structure of opening verse to bridge that builds towards the chorus. The story can be construed in a few ways. The track is very easy to listen to , even to those unfamiliar with progressive rock or the bands members and their work. Last Man On Earth serves as a great gateway track.
In The Crosshairs is a really heavy prog laden track. This opens with a towering thunderous rhythm section with a sleek keyboard running side by side in harmony with the main rhythm section. It is the only instrumental on the album. It is very well crafted.
Strange Relationship starts out with a almost jazz drum passage before the bass , keyboards and vocals come in. It is also a bit of classical fusion blended smoothly with the jazz drumming of Marco Minnemann. If you listening closely it is almost two songs going on at once, however not loosing the attention of the listener. At about the 3:30 mark the keyboard gives it a great fusion style atmosphere.
Swimming Horses starts with a almost space rock vibe on the keyboards. It soon picks up with a more eclectic passage of stick pumped through a bass processor. About the 1:50 mark the vocals take on a chant before the chorus kicks in. This is a track that builds upon every passage. The vocal harmonies are lush and beautiful. The echoes compliment the main vocals perfectly. The solo in this takes a very late 1960′ to early 1970’s appeal.
Marvo Capelo starts out with a simple semi acoustic guitar and vocal harmony. Then it totally explodes with rhythmic atmospheres and and keyboards that carry a vintage prog sound with a modern sensibility. There are several atmospheric passages and elements that all come together under a perfect melodic banner. This track even has small hints and elements of metal at certain points. The tracks’ towering rhythms really carry the track through.
Father Daughter is a tender song , almost ballad, about a father and daughter communicating through the melodic filter of song. It is a song about regret and reconciliation. To some listeners this could be a real tear jerker of a track. Lula Beggs , the daughter of Nick Beggs has a stellar performance on the Chapman stick and complimenting the male vocal done by her father.
What I liked about The Mute Gods Do Nothing Till You Hear From Me is that you can not compare the tracks or passages to anything out there. It is one of the most original albums to come down the pipeline over the last 30 years. The album is so well written and produced you can not even place the title of ‘Supergroup’ on the band as well. There are individual stories that really capture the vision Nick Beggs articulated on the album. I give this a 5/5 on the above mentioned alone.
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 .
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