For their 2016 album, Nth Ascension made the move to American label MRR, and the confidence they gained from the critical acclaim of their debut is clearly apparent. Whereas the debut ‘Ascension of Kings” was an excellent album, this one just seems to have that touch more depth in every area. There are three songs more than ten minutes in length, and as well as channeling the likes of Pendragon and Clive Nolan there is also far more in the way of Pink Floyd, Magnum, and Saga. The music is arranged in such a way that Alan’s vocals are very much to the fore of everything that is going on, which to me is a huge benefit as he has more than a touch of Roger Chapman and particularly Cyrus (Citizen Cain) about what he is doing, although I am aware that it may not be to everyone’s tastes.
It is a class album that is full of the Nineties prog scene in so many ways, and anyone who lived through that musical period such as I will be listening to this with a huge smile on their face, yet it has been brought both up to date in terms of production as well as looking back into the Seventies for inspiration here and there. Craig is a great drummer, driving the tunes from the back and adding fills and stylings when the need is right, always working the kit without overpowering the rest of the guys. His brother Gavin does far more to lock down the sound and keep it tight but also moves away from grounding songs when it is time for him to add additional melody. Their dad either riffs, solos or sits back and has a rest and does nothing so that when he does make an entrance it always has an impact. Then, of course, there is Ten keyboard player and solo artist Darrel, providing curtains of sounds, or taking the lead, or adding dynamic piano, whatever is required.
The more I played this album the more I enjoyed it, as the more I gained from it. While the debut was strong, this is far more distilled, controlled, and so thoroughly enjoyable.
In 2009, drummer Craig Walker was asked to stand in for a local band, where he met keyboard player Darrel Treece-Birch, who was also helping them out. This led to them deciding to start a new project together, and they brought along Darrel’s longtime collaborators Martin Walker (who just happens to be Craig’s dad) and singer/bassist Alan ‘Spud’ Taylor. After the release of a demo, Gavin Walker (Craig’s brother, Martin’s son – are you following this?) was brought in as bassist to allow Alan to concentrate on singing. At the time of the release (2014) Darrel was in two other bands, one of which was Ten (with whom he is still with today), and singer Gary Hughes helped out by engineering and producing Alan, as well as providing some backing vocals. But these guys are a totally different style of music to what Darrel plays in Ten.
Some people will argue that these guys are neo prog, while others may look to crossover, but it is honestly just easier to state that they are a very English sounding prog band. Classic Pendragon has obviously been an influence, but so have some of the more keyboard-oriented pastoral bands of the past, and every time I play the classic “Weight of The World” the vocals remind me of some of the songs from Roger Glover’s ‘The Butterfly Ball’! I think what I like about the album is that there is so little stress within it, it is quite laid back at times, but they know when the guitars need to make an impact without always crunching out riffs. They are all fine musicians but are quite happy to sit back and often let Darrel lead the musical flow while Alan sits over the top of it all with wonderfully melodious vocals. They close with the eighteen-minute-long “Vision” which allows them to musically stretch their wings, yet still, keep it all contained and incredibly melodic. Driving, pastoral yet rocky when they need to be, melodic, musical, this is a really nice album indeed.
Some years ago I came across the debut album from Gandalf’s Fist, then lost touch with them again until I received an email one day stating that to celebrate the two year anniversary of their latest album they were providing a free download of the first act. A short flurry of emails between myself and Dean Marsh, and I soon had a copy of the three-CD set to listen to. I knew there was something very special going on here even before I listened to it, as there were guest appearances by Arjen Lucassen (Ayreon), Blaze Bayley (Ex-Iron Maiden), Matt Stevens (The Fierce and the Dead) and Dave Oberlé (Gryphon). The album also featured the voice acting talents of the likes of Mark Benton (Waterloo Road) and Zach Galligan (Gremlins) among others. Then on top of that there was the press release. If an album is self-released I am lucky to get a page of (sometimes) useful background information, at a maximum two. No, what I have here is a 16 page full colour guide to Cogtopolis, with diagrams, illustrations, a complete history of the formation of the city, how it all works plus so much more.
Yes boys and girls, what we have here is a full-blown concept album on steroids. In some ways it is mix between the concept albums of Clive Nolan and the science fiction stories with music of Hibernal. There is far more acting and drama than one would hear from the former, and far more songs and rockiness than one would get from the latter. In many ways this has moved far away from the concept album format, and into a full-blown film for the ears. I soon found that the only way to listen to the album was by giving it my full attention, as if I didn’t I soon lost track of whatever else I was trying to do anyway. The interplay between the progressive rock music and the dramatic storyline is seamless, with both providing dynamic interplay.
I kept “seeing” what was going on in my mind, and also wondering if they were ever going to publish a book to go with this, as I can easily imagine this story being greatly expanded. I am not going to give anything away about the storyline itself, apart from saying that it takes place under the earth’s surface, as due to man’s maltreatment of nature humanity were sent underground some two hundred years previously. From the very beginning, when the lamplighter comes across a traveller, I was hooked, desperately wanting to understand where the story was going to take me. That the music was heavily influenced by neo prog and contained wonderful vocals performances and great musicianship and melodies was the real icing on the cake. I was surprised just how often I was reminded of the mighty Legend, as they and Galahad have obviously been fairly important inspirations behind this mighty endeavour, as has Ayreon and IQ.
A triple CD concept album, of this depth and magnitude, is released very rarely indeed. I can honestly say that it is one of the most impressive pieces of work I have come across in the last five years, and is essential listening to anyone who loves good music. www.gandalfsfist.com
FROST*, the band masterminded by producer, keyboard player & vocalist Jem Godfrey, has announced that they have re-signed with long-time label partner InsideOutMusic (who this year celebrate their 25th anniversary).
This new deal will encompass several forthcoming releases, including 2 new studio albums, a live album (filmed at 2017’s sold out show in London), as well as reissues of the bands back catalogue. Jem had this to say: “InsideOut have been a long suffering supporter of Frost*. Unwaveringly supportive even when I was lobbing as many toys as I could find out of my pram. As time has passed, I’ve grown up and come to realise what a luxury it is to have a record company of this calibre covering your back. Many bands don’t have that luxury so I’m absolutely raring to go with the new album and the one beyond that.”
InsideOutMusic label-head Thomas Waber adds: “I am really pleased that we managed to extend our partnership with Frost* mastermind Jem Godfrey. His unpredictable nature and humour is a breath of fresh air in this genre and provides for some of the best music we have released on the label. Let’s see what mischief we can come up with in the years to come!”
More news on these forthcoming releases will be released in the coming months.
As mentioned, Frost* played the final show of the Falling Satellites campaign to a sold-out Dingwalls in London in November 2017. The evening was filmed, and will see the light of day as a brand new live release.
Falling Satellites was released in May 2016 to much critical acclaim, with Prog Magazine calling the band “one of the most entertaining and exciting bands on the block”, while Echoes & Dust called the album “essential listening” and Heavy Blog Is Heavy said: “Progressive pop is theirs, and Falling Satellites is the benchmark.”
Jem is joined on ‘Falling Satellites’ by guitarist & vocalist John Mitchell (Lonely Robot, It Bites), drummer Craig Blundell (Steven Wilson) & bassist Nathan King (Level 42). ‘Falling Satellites’ was the band’s first album in 8 years & the follow-up to the acclaimed ‘Experiments In Mass Appeal’. Comprising 11 songs, the final 6 forming a 32-minute long suite, ‘Falling Satellites’ also sees a guest appearance from Grammy-nominated guitar legend Joe Satriani who Godfrey played with on the G3 tour in 2012.
Boston’s Bent Knee play a homecoming show this evening, Thursday, July 19, at The Sinclair. It wraps up a successful tour that found the band traversing the US with tour partners Gatherers throughout June and July.
Bent Knee also just released the full length ‘Live at the Record Co.’ video, featuring a live performance of 2017’s InsideOut-released ‘Land Animal’ album in full and in sequence. Watch it here:
Look for the band to join label mates Haken and Leprous on an extensive US tour in the fall. Dates directly below:
October 30th – The Crofoot Ballroom, Pontiac, MI
October 31st – Opera House, Toronto, ON
November 1st – Astral, Montreal, QC
November 2nd – Underground Arts, Philadelphia, PA
November 3rd – Highline Ballroom, New York, NY
November 4th – The Sinclair, Boston, MA
November 6th – Soundstage, Baltimore, MD
November 7th – Cat’s Cradle, Carrboro, NC
November 8th – The Orpheum, Tampa, FL
November9th – Revolution, Fort Lauderdale, FL
November 10th – The Plaza Live, Orlando, FL
November 11th – Variety Playhouse, Atlanta, GA
November 13th – Gas Monkey, Dallas, TX
November 14th – Barracuda, Austin, TX
November 16th – Crescent Ballroom, Phoenix, AZ
November 17th – Glasshouse, Pomona, CA
November 18th – August Hall, San Francisco, CA
November 19th – Hawthorne Theatre, Portland, OR
November 20th – The Crocodile, Seattle, WA
November 21st – Rickshaw Theater, Vancouver, BC
November 23rd – Metro Music Hall, Salt Lake City, UT
November 24th – Bluebird Theater, Denver, CO
November 25th – Granada Theater, Lawrence, KS
November 26th – Delmar Hall, St Louis, MO
November 27th – Exit/In, Nashville, TN
November 29th – Rex Theater, Pittsburgh, PA
November 30th – Beachland Ballroom, Cleveland, OH
December 1st – Bottom Lounge, Chicago, IL
Bent Knee recently released a concert film of the band’s first full-scale contemporary-classical composition, titled ‘Paper Earth’, here: https://youtu.be/LGNZePMJ8XM
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
Subscribe To Our Newsletter
Join our mailing list to receive the latest news and updates from our team.
Yes boys and girls, what we have here is a full-blown concept album on steroids. In some ways it is mix between the concept albums of Clive Nolan and the science fiction stories with music of Hibernal. There is far more acting and drama than one would hear from the former, and far more songs and rockiness than one would get from the latter. In many ways this has moved far away from the concept album format, and into a full-blown film for the ears. I soon found that the only way to listen to the album was by giving it my full attention, as if I didn’t I soon lost track of whatever else I was trying to do anyway. The interplay between the progressive rock music and the dramatic storyline is seamless, with both providing dynamic interplay.
