by Kev Rowland | Jul 29, 2018 | Uncategorized
To celebrate 10 years of Fruits De Mer Records, they have released a triple vinyl set of songs that have appeared on the label, plus a 7” single featuring another two songs that were provided too late to make it onto the main set. In all, 30 songs with a running time of two hours and fifteen minutes in length. There are quite a few cover songs contained within this, and I must confess to only knowing a few of the artists involved, but overall this is an amazing release that has made me realize just how much I have been missing out on by not coming across this label before this. It starts with “Theme One”, but not the original by VDGG but a cover by Tor Peders (taken from his ‘Brev Fran Ederstorp’ album). Now, those of a certain age will remember the song not from the original, nor even from it being played on Radio One at the beginning and end of the day, but rather as being used by Tommy Vance on his Radio One Rock Show each week for the Friday Night Connection quiz. I hadn’t played it for a while, and while this is a very different version indeed, it contains all the power and anarchy of VDGG in their prime.
Other highlights that must be mentioned include Tír na nÓg, with “I Pick Up Birds At Funerals”. These guys have had a chequered career to say the least, but their first albums from the early Seventies are indispensable, and this progressive folk psych number shows that they have lost none of their immediacy and passion. White Sails need to be held up for covering Black Sabbath’s “Fluff”, the acoustic number from the mighty ‘Sabbath Bloody Sabbath’ and certainly not a number that many would think of to pick. I am also incredibly enamored of Hills Have Riffs and “Down By The River”, as I’ve never heard anyone else captures the really early sound of Jethro Tull like this. Psychedelic bluesy whimsy, this is incredible. I was soon realizing that each and every song was important in its own way, introducing me to songs I hadn’t come across before, or covers that were taking songs I knew into different areas, often by bands I didn’t know even existed. While The Pretty Things are a known entity, I was actually more impressed by the likes of The Honey Pot and “Dr. Crippen’s Meeting Room” which is a psychedelic masterpiece. But, one that really made me smile is one of the songs that are on the single, namely “White Horses”. This was originally the theme music to a Sixties Yugoslav-German co-production about a teenage girl’s equine adventures, called ‘White Horses’, which was dubbed into English and screened on BBC One. In 2003 it was voted the greatest theme music of all time, but it never sounded quite like this.
Overall, this is an amazing album, one that has introduced me to so much great music. Now I have another label to investigate, and this one will be a delight.
9/10 – Kev Rowland
http://www.fruitsdemerrecords.com
by Kev Rowland | Jul 29, 2018 | Reviews
As soon as I started playing this I was taken back more than 20 years to two albums released on the long-lost Ad Perpetuam Memoriam label by a band called Death Organ. Led by keyboardist Per Wiberg (Opeth, Spiritual Beggars), their music was a strange mix of death metal and prog, and notably contained no guitars. I wonder if these guys have come across them, as yet again we have a band producing heavy music, with no guitars involved. Actually, their motto is, “No six-strings allowed,” and they create a soundscape equipped with just bass, drums and Hammond organ and a vast array of lengthy jam-based compositions interspersed with heavy stoner-like riffs.
The trio of Fredrik Andersson (Hammond and Farfisa Organ, Mellotron, synthesizer, electric piano, flute and vocals), Linus Karlsson (bass, Theremin, sound effects) and Wiktor Nydén (drums) have taken Atomic Rooster as a starting point and have then moved on from there. I was fortunate enough to see Vincent Crane, John Du Cann and Paul Hammond (all three now sadly deceased) some 35 years ago, and the power they were putting out onstage, without a bass, was quite incredible, and here Blå Lotus are doing the same without guitar. With a very heavy use of Hammond, their sound is strongly rooted in the early Seventies, and they move between extended instrumentals and vocals with ease. That this is a great album is never in doubt, and it is incredible to think that they came together in Autumn of 2016, and recorded this album in April the following year, as they sound as if they have been bouncing ideas off each other for years. Now if only Per Wiberg would reform Death Angel, and the two bands went out on the road together, that would be something well worth seeing. If you have ever enjoyed the sound of a Hammond Organ in the hands of someone who knows what they are doing, then this is essential. https://blalotusmrrartist.bandcamp.com/album/tube-alloys-2
8/10 – Kev Rowland
by Kev Rowland | Jul 29, 2018 | Reviews
I very nearly missed out on this one, as although the material was made available to me, I didn’t chase it down as I hadn’t heard the name anywhere, and it’s not as if I am hunting for albums to review. But, I was told that there was a PFM connection so thought that it may well be of interest, and I am glad I did. The label is a new one to me, but looking at their site they have released a lot of material so far. Their stated aim is to only focus on Italian bands, publishing the best from the past and present Italian “hard ‘n’ heavy” scene. The main Italian label I have worked with over the years is Black Widow Records, who concentrate much more on classic Italian progressive rock, so this in itself was intriguing. As to the band themselves, Arca Progjet was originally formed by Alex Jorio (drums, Elektradrive) and Gregorio Verdun (bass and keys), together with Sergio Toya (vocals), Carlo Maccaferri (guitar) and Filippo Dagasso (keyboards and programming). There are also some special guests, including Mauro Pagani, a founder member of PFM who appeared on their first albums before leaving in 1977.
I am guessing that Mauro provides violin, the instrument for which he is best known, but he is more important in having his name connected with this release as opposed to the music he provides on it, as that PFM link is going to get a great deal of people interested – and to be honest it was the reason I listened to this in the first place. But, I am glad that I did as here in an Italian progressive rock band that is using the sounds that one would expect from a band from that country playing this style of music, but also has been brought up to date so while many may expect this to be RPI, there are also elements of neo-prog, hard prog and crossover which make this an incredibly interesting and accessible album on the very first hearing. All lyrics are in Italian, often with harmonies, so I treat the vocals as part of the overall sound, and to my ears it all comes together very well indeed.
If this album had been released on one of the “usual” progressive labels then I am sure that we will have been hearing a great deal more about it, but as it is more “reviews” just seem to mention that it has been released and that it features Pagani. But, this is an accessible progressive rock album with a series of short and direct songs that allows the musicians just enough to room to display their skills without it ever becoming one long solo-fest after another. Two numbers manage to just breach the seven minute barrier, but most are around the five-minute mark, and while the keyboards often use keyboard or mellotron sounds they are never filling the sound and there is always plenty of room for the guitar to be heard as well. This is a really enjoyable album, that definitely deserves to be heard, and as it has been made available on Bandcamp while not give it a try?
8/10 by Kev Rowland
https://jolly-roger-records.bandcamp.com/album/arca-progjet-arca-progjet
by Kev Rowland | Jul 29, 2018 | Reviews
This is the fourth album by UK art rock/psych/prog outfit Babal. The band is based around the core of singer Karen Langley and Rob Williams (guitars), with Jon Sharp (drums), Zoie Green (keyboards) and Ben Balsom (bass), and to be honest, I don’t like it very much at all. But, I can appreciate it, and that’s a difference. While I can’t see myself ever playing this for pleasure, I can totally understand why a great many will be fascinated by this weird amalgam of Frank Zappa, Bill Nelson and Talking Heads (plus lots more). I’ve never understood the fascination with David Byrne, but as soon as I started listening to this I was reminded immediately of him, and would have been surprised if I hadn’t come across him in relation to these guys, and wasn’t disappointed.
There are musical layers upon layers, complex, often staccato and disjointed, all coming together in a strange mix where the drums are too far to the front. That is my only complaint on what is generally very strong production indeed, so that is an obvious choice as opposed to any failing. This really isn’t my style of music though, but for anyone who is intrigued by the idea of David Byrne being involved with Zappa (in particular) then I do urge you to seek this one out, even though it is not for me. It has been released by Melodic Revolution Records on vinyl as well as CD and digitally
7/10 by Kev Rowland
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by Nick | Jul 28, 2018 | Festivals, News
US progressive rock band, Entransient is confirmed for RoSFest 2019.
US band was formed back in 2014 and operate out of their home base in Grand Rapids, Michigan. The band consists of musicians with a past from the local metal scene in West Michigan and while this band is a recent formation, all the musicians are seasoned performers. They have released two albums to date: “Entransient” in 2015 and “The Weight of Things” in 2018.
While Entransient describes themselves as being more of a post and neo-progressive rock band, their music, at least on their latest album, is a bit removed from this context as regarded through the eyes of a progressive rock fan. It is easy to hear that they have caught some inspiration from bands such as Opeth, and even more so from the likes of Porcupine Tree. In terms of direct comparisons, the end result actually isn’t too far removed from the harder edged material of a band like Riverside. As Riverside are headliners, those who are looking forward to seeing them should set aside the time to enjoy the music of this fine, homegrown band as well.
Entransient is a fine addition to the roster of homegrown bands we do enjoy signing and supporting at RoSfest. Our own bands need all the support they can get, especially when they create music as appealing as this band does. We expect this band to be going places sooner rather than later, and this should be a fine concert experience for the parts of our audience that appreciates progressive rock explored in a harder-edged, metal-oriented context.
RoSfest 2019 will take place on May 3rd through May 5th, 2019 at the Sarasota Opera House, Florida. The final line-up and schedule for the festival are still TBA. Confirmed bands to appear so far are Riverside, Karmamoi, and Traverser.
http://rosfest.com/entransient-signed-for-rosfest-2019/
Band Links:
https://entransient.bandcamp.com/
https://www.facebook.com/Entransient/
