Apolis - The Sun Has Fallen

When one mentions 'Progressive Rock', there are certain assumptions that many people make. One is that the genre is a particularly English phenomenon: most of the leading lights from the heyday of Prog were English, or at least British; another is that the songs will be at least 8 minutes long, and preferably 15 minutes-plus, and will be on some fantastic theme.

So when I was asked if I would listen to an album by a Greek band, my ears pricked up a little. I'm aware that Greek Prog has been around since at least the days of Aphrodite's Child, and that there are some excellent Greek bands out there at the moment - Verbal Delirium and Residuous Mentales are a couple that I have written about on this site - so my interest was piqued at the prospect of more. And then the album arrived. 15 tracks, a total playing time of around 50 minutes, and none of the songs were longer than 4:45.  Is this Prog, as we know it?, I found myself asking.

So I gave the album a listen.

The Sun Has Fallen is the work of Apolis, a three-piece band from Athens, who list their influences as including Socrates and Pink Floyd!: Tassos Loukos, vocals & guitar; Christos Kyrkilis, keyboards & piano; and Simos Melissourgos, bass & vocals. There are drums also on the album, but I'm not sure who plays them. The band have been together since 2008, but this is their first album, released in 2017. Well, I say first album: the band apparently were originally called 'The Sun Has Fallen' and released an album called 'Apolis' in 2008, but then changed their name and the name of the album accordingly! The cover art is simple yet effective, and reminded me of Utopia's album, 'Ra' a little.

The album opens with 'Intro', a simple instrumental lead into the songs with ringing arpeggio guitar into a crescendo of keys and swiftly segues into 'Solve Me'. This is a more driving, heavier song, with a powerful bluesy guitar riff that carries the song throughout, supported by a Hammond-esque keyboard, and a good rock-y guitar solo towards the end. My only gripe is that the vocal could be a little stronger. 'Misty Trips' is gentler, the vocals a little breathy, and the feel a little psychedelic, though the pace picks up as the song progresses as guitar and keys vie for dominance. 'The Yard of the Strangers' is the first, though not the last, song in 3/4, which gives it a different feel to the other songs so far. There is flute (or similar) throughout, and some simple but pleasant vocal harmonies in the chorus which gives a different feel to the tune. 'Just a Sweet Melody' has a slow funky vibe, with quiet, breathy vocals again that gives a laid-back feel enhanced by the guitar solo that comes in half-way through and again towards the end.

'Ariadnes's Thread' has a kind of Middle Eastern feel to it, and is slightly darker and more syncopated than hitherto, with a heavier, staccato edge with guitars and bass working well together. 'Evening Walk' is a gentle acoustic guitar song that grows with the addition of keys, drums and bass, and is the second song in 3/4 time. There is some oboe & xylophone sounds at times which gives an interesting colour to the song. 'Ridin' in The Night' is a longer instrumental track and for me one of the stand-out tracks on the album. A quieter tune, with funky, phased guitar & keys and some simple wordless vocalising. For me it had clear 70s blues-funk feel to it, almost Isaac Hayes-y at times, with some great screaming Hammond and driving bass towards the fade-out at the end. 'Inside War' opens with lyrical piano, and with the vocals comes some excellent fretless bass. And that's all that this song has - no guitars, no drums: just piano, fretless and voice, and that gives it an increased melancholia that is quite staggering at times.

'Face Your Idols' has fast arpeggio guitars in contrast to the last song, and almost military snare drums, then some more ponderous vocals. But the song changes its dynamic in places, and even its signature in the final section moving from 8/8 to 3/4. 'Bring Me Home' has some dominant bass and vocals that are almost rap-like in their attitude and style, though quite ponderous in their delivery at times (in a good way). Acoustic & electric guitars tootle alongside an almost Latin feel at times, and they then go into a radio fade to a quieter acoustic guitar to finish.. 'Waltz Of Fear' is, unsurprisingly, also in 3/4 time (!), and surprises with Oboe again and even accordion and upright bass, which give the song a distinctly "wooden", homely, almost Parisian feel to it. 'Apolis' is, I suppose, the band's theme song: a steady, ponderous tune with phased guitars & keys giving it a kind of Led Zeppelin's 'No Quarter' vibe musically combined with an almost Steven Wilson vocal edge. 'Outro' is just a solo plucked electric guitar and some quiet vocals that ends with 19 seconds of silence. And then, almost as a after-thought, or perhaps a coda, is 'Childhood', the final instrumental piece in this collection, a pleasant work of solo acoustic guitar that draws the album to a thoughtful and fitting conclusion.

So, is it Prog? And, in the end, does it matter? It is, I believe, a collection of interesting, stimulating, entertaining music, that touches on rock, blues, funk and ethnic European music, drawing it all together in a magical musical melting pot. This is an album that has grown on me with every listen, and I invite you to join me in discovering its many delights. With Apolis, Greece continues to give us some excellent contemporary music at the Progressive end of the spectrum, and long may it do so!

Lucid - This Lonely Town

My first review of 2018 kind of took me by surprise, in that I received a request via social media asking if I would be willing and able to do a review of an album and band I was hitherto unaware of. After some thought - bearing in mind that I am a busy man at the moment, both professionally and personally - I agreed to give the album a listen.

The band - Lucid - are a four-piece: Blue Brown (keyboards & vocals); Nik Potts (violin, guitar & vocals); Ollie Ducie (bass, guitar & vocals) & Sunny Brown (guitars & vocals). They've been making music together for around 10 years, and hail from the Isle of Wight. This Lonely Town is their fourth studio album, and the core band members are enhanced by other musicians: Andy Charles on Electric Guitar; Robert Berry on Drums; Chris Jones on Percussion; Sarah Jory on Pedal Steel; Gary Plumley on Flute and Bansuri, and Steve Beighton on Saxophones.

How do you describe the music? The band class themselves as a Folk Pop band with hints of Rock and Prog, which kind of illustrates how hard it is to pin their sound down to a particular genre - which isn't necessarily a bad thing! It's safe to say that there is a lot going on in this music, which means that there's always something else to listen out for in the 11 tracks that take up about 47 minutes.

The album opens with All The Green, which begins with gentle guitar arpeggios and pedal steel which give it a thoughtful, atmospheric, almost dreamy feel. There are good vocal harmonies throughout with, male voice to the fore, and the song flows nicely into an extended pedal steel solo towards the end. Who Knows has a stronger beat, with drums more prominent, and a female vocal lead, but uses harmonies well again alongside some nice counterpoint. 'A good Radio 2 tune' was my initial impression! You'll Be Fine has some good interplay between acoustic guitars and piano, and has a distinct Irish feel for me, both vocally and in the whistle that pops up in the instrumental break. The vocals are clear, and interestingly the fretless bass appears to be taking the lead in the instrumental section at one point. Title track This Lonely Town is, rightly so, a more melancholic tune, with almost doleful violins and female vocals in a lower register, which builds in intensity and becomes more soulful. About 2/3rds of the way through the time signatures changes from 3/4 to 4/4 and some very atmospheric flute comes in which takes us to a different level. Perhaps the proggiest thing yet! Where Have The Flowers Gone? is a moody, soulful ballad augmented with some very good soprano sax work, and would be a fitting end to side one if this were a vinyl release.

Part of the reason for my last comment is that the next track, Simple Things, begins with a kind of crackle that you get from vinyl, which then leads into about a minute of vintage audio. When the vocals come in there is piano and guitar harmonics too, and the music builds with violin to the fore in a multi-layered creation which then fades to simple piano. Head In The Clouds is a wonderfully upbeat, catchy, even jolly tune (in contrast to some of the earlier songs) with a memorable refrain of 'Ay Oh' and for me has a feel of Swedish band Moon Safari about it. There's some good syncopation in the drums and interesting counterpoint in the vocals, and some fiddle work (rather than violin) that took me to Charlie Daniels' 'The Devil Came Down To Georgia' at times! In complete contrast, Top Of The Tree is a slower tune, which opens with acoustic guitar and fretless bass toying with each other quite marvellously. The harmonies are there, as always, but are much darker. About half-way through the pace doubles, and the song ends strongly with perhaps the first bit of rocky electric guitar so far on the album.

The Dark, the longest cut on the album at 5:26, has an atmospheric opening, almost along the lines of John Martyn's 'Small Hours', which builds in a brooding way and intensifies to a fuller sound with vocal harmonies, violin and piano increasing the feel until the drums finally bring some rhythm at around 3:45. There is much soulful wailing (as Great Gig in the Sky), increasing the darkness of the song, until it finally crashes to a dramatic close. A very moody piece! Chocolate Box is quieter, with piano, female vocals and fretless bass building the song nicely into a soothing, soulful ballad, which ends with a wonderful bluesy sax solo before the final verse. In Your Eyes is the album closer, opening with tight vocal harmonies, moving into guitar, vocal & violin, which provides what would probably be the guitar solo for any other band at the end! A delightful twist, and a fitting end to a surprising and entertaining collection of songs.

As I said earlier, there's a lot going on in this music, but that makes it all the better for it, and it is all the better for the hands of Simon Hanhart at the controls mixing it so expertly. For my first introduction to the band, this has been a delight, and I hope that others will give them some time to discover the delights that lie within. Many of the comparisons that I've made have been to artists who are more in my comfort zone, and I concede that some of them may be unfamiliar to you. Sometimes, though, it pays to step outside of ones usual musical parameters, and this has certainly been such a journey for me!

You can find the band's music, and more information about them, at their website.

Music of 2017 - Part 2

As I noted in the earlier instalment of my year-end review, 2017 has produced some excellent music, and much of a high quality, so whittling things down to a best 20 albums of the year has been a struggle. But, I've finally got there, so here's my Top 20 for 2017.

20. Disperse - Foreword. At times dark, energetic, atmospheric and melodic, this is not your run-of-the-mill progressive rock. Favourite track: Does It Mater How Far?

19. Tangerine Dream - Quantum Gate. Reminiscent of the band at their 1980s best. Favourite track: Genesis of Precious Thoughts.

18. Bjorn Riis - Forever Comes To An End. Thoughtful, guitar-driven prog, at times quite melancholy. Not as Gilmour-esque as his earlier releases. Favourite track: Getaway.

17. Deluge Grander - Oceanarium. Energetic, unusual, inventive instrumental prog. Favourite track: A Numbered Rat, a High Ledge, and a Maze of Horizons.

16. Motorpsycho - The Tower. A 'big' sound, with great textures, reminiscent of Black Sabbath & Pink Floyd at times, and a feel of the best 60s & 70s music. Favourite track: Ship of Fools.

15. Wobbler - From Silence to Somewhere. An album rooted in the past but up-to-date as well. All you want from a nostalgic Scandinavian prog album! Favourite track: From Silence to Somewhere.

14. Ulver - The Assassination of Julius Caesar. Melodic and atmospheric, this album wears its 1980s influences well. Favourite track: Rolling Stone.

13. Threshold - Legends of the Shires. One of the better Prog Metal bands around. Driving, powerful, yet melodic and interesting. Favourite track: The Man Who Saw Through Time.

12. Möbius Strip - Möbius Strip. Great, clean, melodic jazz from this Italian foursome's debut, with wonderful interplay between sax & keyboards. Favourite track: Déjà Vu.

 11. Kamasi Washington - Harmony of Difference. More an EP than an album (32 minutes), but some sublime, more experimental jazz, exploring philosophical ideas through counterpoint. A great follow-up to 'The Epic'. Favourite track: Truth.

10. Rikard Sjöblom's Gungfly - On Her Journey To The Sun. Following Beardfish's sad demise, frontman (and Big Big Train stalwart) Rikard gives us a magical album which draws on the beardfish legacy, but takes it to the next level. Some wonderful lyricism and melody. Favourite track: Old Demons Die Hard.

9. Lunatic Soul - Fractured. A moving, powerful and reflective work by Riverside frontman Mariusz Duda, tinged with melancholy following the death of Riverside's Piotr Grudziński. This fifth outing is to my mind their strongest album. Favourite track: Crumbling Teeth and the Owl Eyes.

8. Barock Project - Detachment. Complex yet melodic and accessible music, of the highest quality, and enhanced by the talents of Peter Jones of Tiger Moth Tales (but only on a couple of songs). Favourite track: Happy To See You.

7. I Am The Manic Whale - Gathering The Waters. Marvellous sophomore release from a band who continue to astound, amuse and amaze me. Great narrative songs on many strange topics, carrying on from where the first album left off. Favourite track: The Milgram Experiment.

6. Kaipa - Children of the Sounds. Kaipa's trademark sound has an uncanny ability to put a broad smile on my face. This is joyful music of the highest order, played with consummate skill, that never fails to lift my soul. Favourite track: Like a Serpentine.

5. Kaprekar's Constant - Fate Outsmarts Desire. An outstanding debut from a band who produce historic & narrative songs along the line trod so well over recent years by Big Big Train, tapping into historic sounds and song-forms and assisted by Prog legend David Jackson. Favourite track: Hallsands.

4. Big Big Train - The Second Brightest Star. A surprise release by the band at Summer Solstice, and one of four releases by them this year to accompany their live shows in London. Some great recordings to round off the 'Grimlore' sequence, which offers opportunities for the wider band to contribute to the songwriting. Favourite track: The Passing Widow.

3. The Tangent - The Slow Rust of Forgotten Machinery. The Tangent's 9th studio release, and their most overtly 'political' for a while. Having said that, this is a compelling collection of great, thought-provoking songs with some eye-opening twists and fantastic musicianship (as always!). Favourite track: Two Rope Swings.

2. Big Big Train - Grimspound. Carrying on from last year's 'Folklore', in a trilogy completed by 'The Second Brightest Star', Big Big Train continue to create some stunning modern prog, anchored in the past but with its own unique character. This is delightful, melodic, and firmly rooted in the English traditions of folk, rock and brass - and simply stunning. Favourite track: A Mead Hall In Winter.

1. Tiger Moth Tales - The Depths of Winter. I wrote about this album on its release: often it takes a few listens to be captivated by a record, but this had me hook, line and sinker by the second time through, and it has simply got better with each listen. Evocative, inventive, fantastic songwriting, singing and playing, and a worthy Album of the Year. Favourite track: The Tears of Frigga.

So that has been the musical year 2017. Let's see what 2018 can bring!

Music of 2017 - Part 1

This year's been a strange one in many respects. I spent the early part of the year convalescing at home after having been run over by a van on a zebra crossing and sustaining a minor brain injury as a result, and to fill the time I had I tried reading and listening to music, but both of these activities proved troublesome. But I did manage some listening, and 2017 proved to be another excellent year for the music that interests me, which is mainly Jazz and Progressive Rock.

So, as is my wont at this time of year, I will try and review my year in music as best as I can recall it. Over the year I've managed to amass around 120 albums of various kinds, and trying to rank them has proved difficult - there's just so much good and interesting music out there at the moment! I've managed (just) to choose a Top 20 for the year, but before then my usual sub-categories and a mention of those 'bubbling under'.

Gigs of the Year
5. Danfest, my first visit and a great day with The Room, Tiger Moth Tales, Red Bazaar and Schnauser
4. Steve Hackett at Sheffield City Hall
3. Snarky Puppy in Manchester
2. Big Big Train at Cadogan Hall. I was at the Friday gig, which wasn't the best for sound, but was the usual awesome experience of sublime music and wonderful camaraderie.
1. Summer's End Festival in Chepstow. Quite simply a stunning line-up of acts throughout the weekend, but the highlight had to be 'Tangekanic' (The Tangent & Karmakanic), who were just awesome!

Live Albums of the Year
5. Yes - Topographic Drama
4. The Fierce and The Dead - Field Recordings
3. John McLaughlin & the 4th Dimension - Live @ Ronnie Scott's
2. David Gilmour - Live at Pompeii
1. Brand X - But Wait... There's More

Discoveries of the Year
This is bands that I've come across for the first time this year who have stood out for me. They're listed in no particular order other than alphabetical.
Kaprekar's Constant: some really interesting and innovative narrative prog in the classic mode
Once & Future Band: jazzy and interesting
Dean Watson: another jazz-influenced act, with some wonderful tunes on his latest album, 'Sum of Parts'
Weend'O: The surprise package of Summer's End this year
Yussef Kamaal: released last year, but discovered early this year; some fascinating contemporary jazz

Before I move on to my Top albums, a word about those that I've enjoyed almost as much, and I want to start by making particular reference to two labels which have both brought me (and others) some great music this year (as other years).
The first is Edition Records, which panders to my growing love of jazz in its many forms, and this year I have especially enjoyed these offerings (again alphabetically):
   Denys Baptiste - The Late Trane
   Nicolas Kummert - La Diversité
   Rob Luft - Riser
   Malija - Instinct
   Phronesis - The Behemoth
   Verneri Pohjola - Pekka
   Aki Rissanen - Amorandom
   Morten Schantz - Godspeed
   Alexi Tuomarila - Kingdom

The second is Bad Elephant Music, whose roster continues to grow in its breadth, diversity and interest, and whose releases never cease to entertain, educate and illuminate. This has been a quiet year for them, with only 16 releases (and one to come later this month):
   Big Hogg - Gargoyles
   The Bob Lazar Story - Baritonia
   Charlie Cawood - The Divine Abstract
   The Fierce & the Dead - Field Recordings
   Murder & Parliament - Murder & Parliament
   My Tricksy Spirit - My Tricksy Spirit
   Orange Clocks - Tope's Sphere Episode 2
   Rog Patterson - Flightless
   Robert Ramsay - Confound and Disturb
   Schnauser - Irritant
   Shineback - Minotaur
   Tom Slatter - Happy People
   Syncage - Unlike Here
   Trojan Horse - Fukushima Surfer Boys
   Valdez - This
   Whitewater - Universal Medium

So, apart from those already mentioned above, here's another 25 of this year's releases that I think deserve recognition, but haven't quite made my Top 20. These are listed, again, in alphabetical order.

Agusa - Agusa
Yazz Ahmed - La Saboteuse
Anubis - The Second Hand
Circu5 - Circu5
Comedy of Errors - House of the Mind
Cosmograf - The Hay Man Dreams
Damanek - On Track
The Dear Hunter - All Is As All Should Be
Encircled - The Monkey Jamboree
Nubya Garcia - Nubya's 5ive
Godsticks - Faced with Rage
John Hackett Band - We Are Not Alone
Steve Hackett - The Night Siren
Brett William Kull - Open Skies Exploding
Lifesigns - Cardington
Lonely Robot - The Big Dream
Machines Dream - Black Science
Magenta - We Are Legend
Magic Bus - Phillip The Egg
PFM - Emotional Tattoos
Public Service Broadcasting - Every Valley
Nad Sylvan - The Bride Said No
Weend'O - Time of Awakening
White Willow - Future Hopes
Steven Wilson - To The Bone

As you can see, the quality this year has been very high. The Top 20 will be outlined in Part 2 - coming soon...

Tiger Moth Tales - The Depths of Winter

Peter Jones has been something of a phenomenon since he appeared on the Progressive music scene just about 3 years ago, with his debut album, Cocoon. This delightful, nostalgic collection of reflections on childhood was an unexpected delight, and has remained a favourite of mine ever since. Since then Peter's skills and charm and whimsy have been seen again in Story Tellers, in his many covers of Genesis songs for charity, and in his contributions to the work of Red Bazaar, Barock Project and Colin Tench. He has become much in demand as a singer and multi-instrumentalist.

There is a certain quirkiness to Peter's music that is endearing, and his sense of humour is bright and, for many, enlivens his broadcasting on Progzilla. But an ever increasing number of fans have been waiting in eager anticipation for some new material from Peter, and now, at last, the wait is over, with the release of The Depths of Winter. And with this album there's both a sense of continuity and one of change and progress.

There is a subtle difference to the music on this release. This is a more 'serious' album, in that the subject matter is less frivolous (so to speak), and there is a subtlety and maturity to the compositions that shows clear progression from the earlier albums. There is still the great narrative songs that have thrilled listeners in the past: The Ballad of Longshanks John and The Tears of Frigga; there are some subtle and stirring instrumental pieces: Winter is Coming, Sleigh Ride, and Winter's End; and there is inspiration from varied sources: Wilfred Owen's war poetry (Exposure), the loss of a loved one (Take the Memory), the Scandinavian concept of Hygge, and even the simple desire to survive the coming cold (Winter Maker). But there's perhaps hidden meaning in some of the songs: Migration is billed as a song about an animal separated from the group while on the move, but could quite easily, for me, be a song about those seeking refuge and asylum from more human circumstances.

Musically Peter continues to draw his inspiration from the formative years of Progressive Rock, and there are clear echoes of Genesis in some of the music, as well as hints of more contemporary influences, such as Big Big Train, and classical sources too. Peter is not afraid of challenging time signatures and a breadth of instrumentation, both played by himself and by others. But for a collection of songs that draw their influence from the cold of winter, this is warm album: it delights the heart and renews ones faith in humanity - it is almost the aural equivalent of flagon of mulled wine in front of a roaring fire!

If you are familiar with Peter's work, this album will, I hope, continue to delight and inspire you. If his work is new to you, listen and be prepared to be wowed and warmed.

The Train now arriving...

Two years ago I was privileged to attend the first two nights of Big Big Train's live shows at King's Place, London, and a delight they were, as anyone can witness by watching their Blu-ray release of the shows, Stone & Steel. So when they announced last year that they were planning some more shows in the capital, in a larger venue, I snapped up tickets as soon as possible for the opening night (well, actually my son snapped up the tickets, as I was in the US when they went on sale!).

Since the announcement of the concerts the band have not been idle, releasing 'Folklore', 'Grimspound' and (much to the delight of their growing band of supporters - the 'Passengers') the surprise Summer Solstice-released album 'The Second Brightest Star', and the epic conglomeration of 'London Song'. This gave them much new material to bring to the live arena, as well as their extensive back catalogue.

I wrote my reflections on the 2015 concerts at the time, and one thing that struck me about that occasion, as well as this year's events, is that these were so much more than just a series of concerts by a rock band. These were a gathering of family, from the four corners of the world, united by a common love of each other and of exceptional music, played with skill and passion.

My son and I travelled from the Midlands to London by train on the morning of Friday 29th September, and made our way, via Marylebone Road, Baker Street, Oxford Street and Hyde Park, to Kensington, where we met with around 50 other Passengers for curry. The camaraderie was amazing, as old friends were reacquainted, virtual friends became real, and new relationships were sparked. From there, suitably replete, we then proceeded to overwhelm The Antelope, a hostelry local to the gig venue, before leaving for Cadogan Hall and the principal reason for our gathering. Merch was purchased from the ever-obliging Nellie Pitts and her Merch Desk crew, and then we took our seats, ready for the show.

The anticipation was tangible as the lights faded, and Rachel Hall took the stage alone to begin the overture to the opening number, 'Folklore', being gradually joined by the brass section and the other members of the band: Andy, Danny, Nick, Rikard, Dave, Greg and finally David. The set continued with mostly material from the recent albums, but with the delightful inclusion of a track from 2009's 'The Underfall Yard', 'Last Train'. Accompanying the songs were images on the screen behind the band which enhanced the total experience wonderfully. The first half set was: Folklore, Brave Captain, Last Train, London Plane, Meadowlands & A Mead Hall in Winter.

Sadly, for those of us at the Friday concert, there were a number of issues with the sound, particularly for those of us in the gallery, which did mar the experience a little, but these were addressed during the break, and things were better in the second half. The interval was further enlivened by the sighting of none other than Tony Banks in the gallery!

The second half drew more on the band's older material as well as the newer stuff, with four songs that had been played at King's Place making the set list again. The full second half set was: Experimental Gentlemen, Swan Hunter, Judas Unrepentant, Transit of Venus..., East Coast Racer, Telling the Bees and Victorian Brickwork, with an encore of a drum solo from Nick d'Virgilio later enhanced by the brass section, and a final show-stopping rendition of Wassail. A truly moving, ecstatic experience for all who were there, I think.

For many the night was not over, as the band then mingled with Passengers to chat, sign programmes, and pose for selfies. Sadly I had to leave to catch the Last Train (!) home. For many, too, the weekend was not over, and reports of the two further concerts, on Saturday evening and Sunday afternoon, testify to the sound issues having been resolved and to the band relaxing into their task a little more, to astounding effect. I'm only sorry that I wasn't able to be there for the further shows, but a DVD/ Blu-ray is, I believe, on the cards, for which I rejoice!

The members of this band have managed to create not just heart-wrenching, soul-stirring and joy-bringing music of the highest quality, in both the studio and live settings, but also, around that music, a global community of like-minded people that I have rarely seen anywhere else. It was a pleasure to meet up with some of them last Friday in person, and to continue that relationship virtually. This is music, and community, that needs to travel the world: here's hoping that it will continue to do so!

(There are no photos, as we were requested not to take them)