by Kev Rowland | Aug 19, 2018 | Reviews
Originally, the plan by Kristoffer Gildenlöw (Kayak, Pain of Salvation, Neal Morse) was to record a song to raise money for Bikers Against Child Abuse, something he’d done before for other charities. However, the project gathered steam, and eventually Breaking The Chains themselves became a registered foundation. Everyone involved with the project donates their time free of charge, and all profits directly go to the Dutch arm of B.A.C.A. BTC charity. More than 40 Dutch singers and musicians took part, and instead of just a single song, there is now a full album of original material. To put this all under one musical banner, so to speak, would probably be melodic hard rock, but there are some that could be included as prog metal, melodic metal etc. Considering that it contains so many players it isn’t surprising that it doesn’t really come across as a single entity, but it is joined by the intent and the quality of what is on display.
My favorite song is “Believe In Me”, with classy soaring female vocals with a melodic metallic background that is forceful, powerful and damn fine. It has hooks a plenty, and is one of those numbers where it is easy to just put it on repeat let it go for hours. Below is a list of all those involved, and given that some of those acts are very profile indeed let’s hope that it creates enough to generate serious sales and raise money for an incredibly worthwhile cause. If you enjoy melodic rock/metal then there is plenty of different styles here for you to enjoy, and even if you decided you didn’t like a single song (which I can’t believe) you will have still donated to charity, so what is there to lose? http://www.breakingthechains.nl
Bart Hennephof (Textures), Peter Strykes (LA The Voices, Vandenberg), Ruud Jolie (Within Temptation, For All We Know), Robby Valentine, Mike Coolen (Within Temptation), Adrian Vandenberg (Vandenberg, Whitesnake, Moonkings), Joe Tal (Textures), Ton Scherpenzeel (Kayak), Timo Somers (Delain), Ed Warby (VUUR, Hail of Bullets, The Gentle Storm), Robert Soeterboek (Wicked Sensation, Highway Chile), Ian Parry (Consortium Project), John JayCee Cuijpers (Praying Mantis), Johan van Stratum (VUUR, Stream of Passion), Wudstik (For All We Know, Ayreon), Frank Schiphorst (MaYaN, My Propane), Marjan Welman (Autumn, Vetrar Draugurinn), Margriet Mol (Asrai), Jan Willem Ketelaers (Ayreon, Classics Rock Show), Eric Hazebroek (Stream of Passion, Vetrar Draugurinn), Rick Bouwman (Martyr), Martin van der Meyde (4Eigner), Jan Bechtum (Picture), Karin Mol (Asrai), Arno te Loo (4Eigner), Sebas & Petra Honing (Equisa), Dirk Bruinenberg (Elegy, Place Vendome), Ivar de Graaf (Kingfisher Sky), Jan Bijlsma (Vengeance, The Last Element) , Peter Vink (Knight Area), Manon van der Hidde (Asrai), Ben Mathot (Ayreon), Anne Bakker (Blaze Bayley), Maaike Peterse (Kovacs, Kingfisher Sky), Jeroen Goossens (Ayreon), Marieke Bresseleers (Circle Unbroken), Harry den Hartog (Alanis) & Collin Leijenaar (Kayak, Neal Morse). Dutch rockers against child abuse.
8/10 – Kev Rowland
by Kev Rowland | Aug 19, 2018 | Reviews
In 2014, keyboard player Osirion unveiled the first full-length album from his atmospheric, neo-classical/ambient solo project – Dreamfire. Nearly fifteen years in the making, ‘Atlantean Symphony’ was an exploration of the worlds of myth and legend, a doorway to ancient mysteries. It was an independent release, but gained critical acclaim, but feeling drained from the long-term effort of putting the album together, Osirion withdrew and was only coaxed back into the light at the end of 2017 when he was approached by Minotauro Records to remaster the album, add some bonus tracks, and have it reissued with new artwork and booklet design.
I missed the album first time around, but am glad that I have caught up with it this time as in many ways this is a story without words, something that is more than just another single artist keyboard album. If I had to state his style, then it would be somewhere between Jean Michel Jarre, Tangerine Dream and Rick Wakeman, but with additional effects that tie the music together. For example, “The Rains of Castamere” starts slowly with simple piano, which moves into cello, but throughout it is the sound of the rain and the threatening storm that makes one “see” what is happening in the darkness. The whole album is much more of a film soundtrack with orchestral and symphonic references than a solo musician striving away in his studio. Incredibly visual, the music demands close attention and for the listener to be swept away in the majestic glory of it all.
When listening to it, I discovered that I often had my eyes closed, just being drawn into the fantastical world being portrayed in front of my very ears. This is an album should never be played in the background but should only be listened to when the time can be given to pay close attention. Yet again it shows that a master musician doesn’t have to play at three thousand notes to the bar, but instead needs to know exactly when the moment is right to either play or not to play, capturing the feeling and emotion of the piece being far more important than displaying musical virtuosity and dexterity. www.dreamfiremusic.co.uk
8/10 – Kev Rowland
by Kev Rowland | Aug 19, 2018 | Reviews
In the mid-Eighties, I was working in Torquay and went into the local record store looking for a particular album. While I was in there I was incredibly impressed by the music that was being played over the shop’s speakers, so much so that in the end I stopped looking for the album I had originally gone in for and instead asked who the band was. I was told that it was Dokken, and it was their third release ‘Under Lock and Key’. I had never heard of them but walked out of the store with their CD under my arm – the reason it has stuck in my mind it is the only time I have ever bought an album having heard it being played in a shop.
Over the years it is safe to say that Don Dokken and George Lynch haven’t always seen eye to eye, and although they have released some great albums together, the line-up has been rather fraught, to say the least. So it was something of a surprise to hear that not only had the classic line-up got together for some shows in 2016 but that they had recorded a new song as well as a couple of acoustic numbers. Finally, it has all been put together by Frontiers Music, and we can hear the band as it has always meant to be, these four and no-one else. I do have a minor niggle that the live albums opens with the new studio track, as that should be at the end of the album instead of the beginning, and to be honest, it isn’t the classic they would all want it to be, but when the live set commences then all is forgiven.
Dokken has never had a strong powerful voice in the way of other singers but does have range, and this very fragility gives them a sound that is quite different to other rock bands. Add to that the chemistry between all four, the fact that Mick Brown and Jeff Pilson have really strong voices, and that George Lynch is still a bona fide guitar god, then you have a band who thirty years after they exploded into the scene are still able to produce the goods. Listen to “In My Dreams” or “Breakin’ The Chains” and you will see exactly what I mean, these guys have the hooks and the balls and it is just a shame that they just can’t keep it together, but perhaps it is being on the edge that provides the spark. Fast forward to 2018, and Lynch and Pilson are currently not involved, as they have reverted back to the line-up immediately prior to these shows with guitarist Jon Levin (who has been in the band since 2003) and bassist Chris McCarvill (since 2015), but who knows for the future? Until that time, if you want to hear Dokken as they were always meant to be, then this is the album to get. Melodic hard rock rarely gets much better than this.
8/10 -Kev Rowland
by Kev Rowland | Aug 19, 2018 | Reviews
About five years ago I came across Darrel’s debut solo album, ‘Celestial’, reviewed it, and since then we have been in contact on and off. He is probably best-known as being keyboard player in the mighty Ten, but he also works with Nth Ascension and has released a couple of other solo albums as well. Released in 2016, I was somewhat expecting this to follow on from ‘Celestial’, but instead, he has brought together musicians and singers to create something that is far more progressive, and far less ambient, than his previous solo effort. I did smile to myself when reading the sleeve notes for my favorite song on the album, the instrumental “Riding The Waves”, which has more than a hint of Colosseum II about it, although brought up to date. Darrel dedicates it to his father, a trawlerman from Fleetwood: on my mother’s side I can trace many generations of trawlermen from Brixham, and here in my study there is a slate clock awarded to my great-grandfather 100 years ago for winning the trawler race in BM 16, the Glory.
Compare the driving rock power of that song with the beautiful piano piece “Nexus Pt.2”, which features just Darrel on piano and voice, and the difference is dramatically stark, but that is the joy of this album in that one never knows what is coming next. “Twilight” has Darrel moving onto bass and mandolin as well as keyboards, with Alan Taylor providing vocals in a baritone that totally fits with the music. It is hard to describe just how the fretless bass, strident guitar and softly spoken/sung vocals (John Power) on the title track fit together so seamlessly. This feels like a very personal album in so many ways, with Darrel allowing himself to move where his inspiration takes him, never compromising to fit into any particular genre, with folk having as much an impact as jazz, classical as much as rock, yet all being brought together in a way that fits perfectly. Far more contemporary than his debut solo album, this is a mature album from a musician confident in his own abilities, and it shows. http://darreltreece-birch.com
8/10 Kev Rowland
by Kev Rowland | Aug 2, 2018 | Reviews
So I had this playing in the background, but when it started with a corner shop quartet from the Forties I thought I must have put on the wrong playlist. But, what it did do was make me stop whatever else I was doing and concentrate on this, and I am so very glad indeed that I did. What we have here, boys and girls is a progressive rock album in its very truest sense that is designed to drive despair into the heart of anyone brave or stupid enough to try to write a review of it. I’ll leave you to ascertain which camp I fall into, just don’t ask my wife. Progressive rock, by sheer definition, is music that is refusing to sit within any preconceived boundaries, and will not be pigeonholed. Why? Because IT’S NOT A PIGEON!
So let’s start by hanging some labels on this thing, shall we? People like labels. So, there’s some Zappa, yes definitely Zappa, jazz, psychedelia, funk, krautrock, oooh Cardiacs, mustn’t forget Cardiacs, folk, um, kitchen sink, cuddly toy. Must have missed something somewhere. But, the joy of this album is that when it is being played it all makes total sense, and all I want to do when it is finished is to put it on again! It may be incredibly diverse, but not in the way that these guys have pulled it together. Apparently, this is the second release from the band, who comprise just Nathan James (voice, keyboards, bass, horn) and Ian Beabout (flute, editing, sound design, and production) and some assorted guests, which includes Dave Newhouse from The Muffins among others. The use of brass instruments of different types work incredibly well, and there is a passion, lightness, and sense of fun throughout this album which makes it a real joy. This is music with no preconceived ideas or formula, just being taken where it needs to go. If I had my arm twisted behind my back and was asked for a simple subgenre then I would have to plump for crossover prog, but as it is meant to be defined, as there are a real musicality and melody that pervades the whole album.
Available in multiple formats, this is a delight, and the fractured beauty of “Photograph” is required listening for anyone who is fed up with created pop stars. In some alternate universe, it is #1 on the charts.
9/10 – Kev Rowland
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