Atan, Ugly Monster, 2022 Tracks: Clenching Teeth (4:04), Abducted (5:30), Faces (4:33), Ugly Monster (3:36), Origami Doll (2:37), Protected (5:45), Words (5:30), Sorrow (5:41), The Mind (4:51), Second Fig (4:43), Absentee (Bonus Track featuring Derek Sherinian) (6:28) Players: Claudia Moscoso (vocals), Andrzej Czaplewski (guitars, samples and synths), Jerry Sadowski (drums), Marcin Palider (bass)
While Atan recently released a new EP, here at Progarchy I seem to be stuck living in the past (I am an historian, after all). Last year’s Ugly Monster was the band’s debut, and it stands tall for a debut record. Featuring a blend of heavy progressive metal subgenres led by female vocals, Ugly Monster has offered a lot to enjoy on repeated listens.
Just as comfortable exploring a spaced out metal zone a la Tool as they are a smash-mouth djent riff, Atan easily and interestingly bend metal subgenres throughout the course of the album. The only song where it doesn’t work for me is “Origami Doll,” where the track takes on a Japanese-influenced style of metal. That likely appeals to some (like it or not, Babymetal is popular for a reason), but it isn’t my cup of tea. Thankfully that’s the shortest song on the album. Musically the song is fine, but the vocal lines do nothing for me.
Atan is at their best when they blend both ends of the metal spectrum – moving seamlessly in and out of heavy, gritty bass-driven djent riffs with passages of minor-key spacey metal brilliance. In many ways “Protected” sounds like it could have come off Meshuggah’s last album, which featured a healthy dose of quiet but densely brooding tracks. Atan also tries their hand at a wall of sound approach to metal with “Words.” A slower track, the guitars seem to create a wall in the midst of the mix. The result reminds me somewhat of Chevelle with a mix of Devin Townsend. Or Tool. That’s probably a better comparison. “The Mind” has a touch of Rush with the bombastic drums and towering guitars punctuated by higher end vocals.
The bonus track features some synthy noodling by Derek Sherinian, who often does keys for hire for bands looking to add a little something to their songs. I’m often skeptical when bigger name musicians do this, but it really does add a lot to this track and to Atan’s sound. I hope they add more keyboards to their sound in the future.
Atan really took me by surprise with this polished and mature record. It contains plenty of variety in terms of styles of metal without feeling disjointed. The album isn’t overly heavy or djenty, despite displaying those influences. As such, progressive rock fans more skeptical of the heavier end of the genre should still find much to appreciate on Ugly Monster. It holds its interest, and I think the band have a solid base to build upon in future releases.
Moon Letters, Thank You From The Future, 2022 Tracks: Sudden Sun (4:19), The Hrossa (6:19), Mother River (4:32), Isolation and Foreboding (6:34), Child of Tomorrow (5:27), Fate of the Alacorn (7:06), Yesterday Is Gone (6:47) Players: John Allday (keyboards, vocals), Mike Murphy (bass, vocals), Kelly Mynes (drums), Michael Trew (vocals, flute), Dave Webb (guitar)
Moon Letters offer what could be called standard classic progressive rock. It is guitar, drums, and synth heavy, and the vocals are harmonized in a quintessentially late 60s and early 70s fashion. Gentle Giant is certainly an influence, and “Thank You From the Future” definitely has that sense of playfulness in the music and vocal arrangements. I hear elements of the Moody Blues, Genesis, and maybe even a little Procol Harum as well.
One might be surprised to hear that the band hails from Seattle, as the music reminds me more of English classic prog than of American progressive rock. Thank You From the Future is the band’s second album, following up 2019’s Until They Feel the Sun.
The band has a science fiction and fantasy influence. I’m pretty sure the band’s name comes from the moon runes in J.R.R. Tolkien’s “The Hobbit,” and “The Hrossa” is a reference to the alien species that live on Mars in C.S. Lewis’ “Out of the Silent Planet.”
Dave Webb’s guitar has a slight Steve Hackett flair to it, especially in the sustained notes. That alone adds a Genesis influence, although Genesis isn’t the first comparison that came to my mind when listening to Moon Letters. But in listening closely to the guitar, Hackett is clearly an influence. Hackett is my favorite guitarist, so that’s a win in my book. The opening to “Yesterday Is Gone” is particularly delightful in its proggy sustained guitar. The sparse guitar notes and licks interspersed between the lyrics throughout the song really elevate the track.
Thank You From The Future is an upbeat entertaining nod to classic prog with modern sensibilities. The album does tend to sound a bit uniform in style, and a little variety would have been nice. But it’s a short album (by today’s prog standards, at least) at 42 minutes, which is a good length for this sort of record. The guitar work is what sets this record apart for me, as I’m sure it will for many of our readers. That’s worth the price of admission by itself.
Hot on the heels of the release of Big Big Train’s Igenious Devices, the band has announced the upcoming remaster and reissue of the late David Longdon’s first solo album, “Wild River,” complete with new artwork.
More from the band:
‘Wild River’, the first solo album from David Longdon has been re-mixed, re-mastered and expanded and will be released on 20th October. It is preceded by a single ‘Always’, which is available now.
‘Wild River’ was originally self-released in 2004 and at that time only a minimal quantity of CDs were produced. Whilst it was briefly available via the Big Big Train website, it has long been out of print. David had always intended to remix and repackage it. However, his sudden death in November 2021 meant that his plan never came to fruition. In a final act of remembrance by his long-time colleague Rob Aubrey, Big Big Train’s engineer since 1994, David’s wishes have now been fulfilled. The album packaging has also been re-designed by Longdon’s friend and collaborator Steve Vantsis.
Sarah Ewing, David’s partner, recalls why he was so keen to revisit ‘Wild River’. “David was really proud of those songs,” she says. “He produced and engineered the album himself, but always felt that the recording, the production and the mix never quite met his expectations. Over the years he became much more skilled at his craft, and had he been alive now, he would have been able to deliver the album the way he always wanted it to be. He’d also always wanted to improve the cover art, but at the time he’d spent all his money on the recording and mixing.”
Wild River’ represented a transitional period for David, both artistically and emotionally. His father, Eric, had passed away in 1994, he had been through a divorce, and he’d auditioned to be the lead singer of Genesis following the departure of Phil Collins. However, after a protracted audition-cum-rehearsal process, he was immensely disappointed to lose out on the role. Which, with hindsight, was a blessing in disguise.
Around this time, XTC guitarist Dave Gregory was playing a session where he first met David. Between XTC projects, Gregory had been recording a version of the Genesis epic ‘Supper’s Ready’ and David, a big XTC fan, offered to sing on it, adding, “I really need to do this.” Gregory was astonished at how quickly David recorded the vocal parts: “Soup to nuts in an afternoon and an evening.” Rather than accepting payment for the session, David invited Gregory to play guitar and Mellotron on the work-in-progress ‘Wild River’. Gregory recalls, “The Genesis experience galvanised him. He was saying, ‘Look, this is what I can do. And I’m gonna f*cking show you’. That was a huge motivation for him. He felt rejected, so had to work a lot harder.”
Big Big Train’s sound engineer and David’s friend Rob Aubrey was asked to remix the album earlier this year. “It still fills me with sadness that he’s gone, but ‘Wild River’ needed to be made available again as it is such a strong album.” The last word on ‘Wild River’ goes to Sarah: “I don’t think it sounds like an album that’s 20 years old; it sounds very immediate and contemporary and that speaks of David’s talent,” says Ewing. “It’s hard for me to be objective, but I hear the younger David and in that regard it’s a beautiful time capsule.”
Echo US, Inland Empire, 2023 Tracks: Across The Star (3:50), Echo Us (9:38), Dark Shock (8:35), It’s Time For Winter (3:42), Inland Empire (7:43), Nest Egg (2:09) From The Furthest Memory (1:14), Far Above The Sky (5:20), Solarium (6:33), Singing With You (10:17)
For the first of my ridiculous backlog of albums to review, I bring you a review of Echo Us’ album from the beginning of the year, Inland Empire. You may remember the band from past Progarchy reviews: James Turner’s review of 2014’s XII A Priori Memoriae and my review of 2021’s The Windsong Spires.
My review of InlandEmpire begins similarly to my review of their last record: eclectic, atmospheric, ethereal. Waves of guitar, claps of percussion, strangely spacey vocals. While not a typical rock album, much like The Windsong Spires wasn’t, it does incorporate rock and certainly progressive elements. Electric guitars and clever percussion, along with aptly placed synths, create a wall of sound that draws from myriad musical influences. New age? Rock? Certainly ambient, yet it retains enough melody to keep the album engaging.
The atmospheric elements occasionally take on a Floydian edge. “Echo Us” has some spacey yet rock-hardened tones before introducing some spoken word fragments, much in the way Pink Floyd did on The Wall. The second half of “Dark Shock” features more Floydian atmospherics, with some particularly enjoyable guitar work.
Some elements of the guitar remind me a bit of Big Big Train, as well, which was a bit of a surprise. But overall, their sound is still more atmospheric than traditional prog. The album flows together almost too well, making most of the songs sound a bit the same. Since the music is contemplative and rather ambient, it’s more palatable even if there’s not much variety. The vocals aren’t a strong point, but they’re heavily filtered with various effects, adding a synth-like quality to them which helps them recede into the ambient wall of sound.
Overall “Inland Empire” is a worthy successor to 2021’s “The Windsong Spires.”
Light, The Path, January 8, 2023 Tracks: Seekness (14:15), Cornua (1:31), The Sweet Release Of Death (5:04), Blue Sun (8:38), Tibia (1:19), Betray (3:13), Newts (6:44), Electris (1:40), The Sublimation Of An Oak (4:13), Tympana (1:23), Dive (13:57), Chalemia (1:47), Mesmerize (3:12), Burning Birds (7:12), Lux Æterna (3:24)
Light is the brainchild of Toulouse, France, based artist Camille De Carvalho, who wrote The Path together with Auriann Rossard, Loup Vaillant, and Paul-Henry Touzac. Carvalho plays an astounding number of instruments on the record, from keyboards to clarinet to duduk and everything in between. She’s joined by a talented cast of other musicians providing additional orchestral work as well as guitar, bass, drums, and vocals. The record is a unique blend of prog, jazz, and classical, leaning most heavily on the symphonic with a distinctly modern flair.
“Blue Sun” perhaps best exemplifies what Light does best. The symphonic overtones dominate, but the overall sound gradually builds adding in the rock elements as it crescendos in a King Crimson-esque wall of controlled chaos. The vocals come in after the midway point, adding further depth to the sound. As the record moves along, the vocals increase, typically in a more classical form than the lead vocals to which rock listeners might be accustomed.
The album’s mix is very lush, with the varied instruments all sounding clear in the mix. There’s a lot of depth to the overall sound as well, making it a very immersive experience.
The Path is an album that will stretch the typical prog fan’s ears, but there is much to enjoy in this album.
Progarchy got the chance to interview Light mastermind Camille about her recent release and what it took to make this project a reality.
You released an album in January 2023 entitled “The Path” How do you feel about the release?
I’m very excited ! I’ve been working on this for 14 years, almost half of my life !
I’ve spent so much time and money in it, it’s really strange to see it done. I thought (and many of my friends too) that I’d never finish it, that I’d always find something to change, to add, to tweak… Having now the CD in my hands feels unreal.
How much of a challenge was it to work on the album?
It was the most challenging thing I’ve ever done. Basically, I wanted to write for orchestra, but I had no orchestra and the ones I contacted were not interested.
I had to learn to play around 100 instruments, spend all my evenings playing, writing, practicing or reading books about how to write for all of these instruments.
And then when I met the first persons interested by the project, I had to manage the recordings, the rehearsals, the writing of the lyrics, the communication…
It was really a lot, but I stayed determined.
Speaking of challenges, did you set any in the early phase of what has become the final result?
Yes, at the very beginning, the challenge was to record an album featuring only keyboards (then I heared White Noise 2, hated it, and decided it was a bad idea)
Also, every piece I wrote was challenging : there’s always a point where I tell myself «and what if, instead, I did this ?» and it’s always some horrible over complicated polyrythm, or scale… the piano part of Dive, for example, is really a nightmare to play. I wrote it in 2010, and managed to play it in 2020, after years of working on my fingers independance and stamina
Tell us about the different instrumental aspects that you explore on these new songs.
I tried to mix a lot of genres, mainly prog rock but also jazz, classical and a little bit of metal. But the main way I see my music is that I want to write impossible things.
Apart from the interludes and maybe one or two simple tracks, all are impossible to play live as is : it can be because of the polyrythms (particularly the infamour 107:100:93 in Blue Sun, or the 48:47 in The Sublimation of an Oak), the time signatures (I used some things like 61/32 and 47/16), or the instruments’ balance : as every instrument is recorded separately, I can make the ocarina sound louder than the trombone for example, and it’d be impossible in real life. I wanted to push the complexity as far as I could, but keep “listenable” by anyone. I don’t want my music to be seen as really harcore to listen to, even though I love some pretty hardcore bands. I want people to groove, in a way, when they listen to it. To think it’s strange, but in a good way.
I love math, and used a lot of formulas or concepts to create a starting point for the tracks. I don’t let math do all the work, because I didn’t like the results obtained by the people who tried it; I only use it as a basis and it’s often a challenge to adapt to what it has created, because it doesn’t follow musical logic. I drew explanation for the things I used and put it in the booklet, you can try to decypher it and find how it has helped me.
Also, all the interludes are inspired from plain chant, a singing technique used by monks in medieval times. I love it ! And it’s so rarely used
What is your opinion about the current progressive rock scene?
I must confess I don’t listen to enough new bands, there are so much things to discover in the past I tend to forget the present ! But still, Auriann, the drummer of the band, is constantly searching for new music and dragging me to shows so I know some, like Ni, PoiL, Piniol, Pryapisme, Sungazer, Haken, Myrath… I think prog rock never died and will never die, and now with modern techniques and instruments, we can push the music further than ever. You have to search for them, but there are really good bands currently.
Let us know about your influences—the artists that in a way shaped and continue to shape the your music.
Haha it’s hard to answer without being boring so I’ll limit myself, but I have to categorize :
In classical music, I’m really fan of the beginning of the 20th Century : Ravel is my first love, Holst the reason why I’m not single anymore, and Lili Boulanger my current obsession.
For rock, my 2 main and most obvious inspirations are Magma and Frank Zappa, and I’m a huge fan of Gentle Giant, King Crimson and all the 70’s era.
For jazz, I’d say that Coltrane, John Zorn, Andy Emler and Louis Amrstong shaped my tastes, even if their influence isn’t as prevalent as Zappa’s or Holst’s in this album
What are your top 5 records of all time?
Hard question, I think it is for everyone. I think the best way to answer it is with rare unknown albums, as they’re better to help understanding the tastes of someone. So yes, I could say Relayer by Yes, or Kid A by Radiohead and sure, they’re great, but it’s also obvious that I love them.
Here is my pick :
1 – “Everywhere At The End of Time”, by The Caretaker : my biggest musical shock, an album about dementia ; you can’t stay the same after you’ve listened to this madness
2 – “Trout Mask Replica”, by Captain Beefheart : well known, but I had to. A lesson in what is freedom, and music. Try again if you hate it : you’ll get it (eventually)
3 – “8”, by Supersilent : it’s an improvisation band, without any planning or concertation. First time I listened to this, I was at work : the walls and roof disappeared and I suddenly was in a cold storm, completely lost. My tasks did not progress after that
4 – “Rire, c’est pas sérieux”, by Raoul Petite : I love Zappa but as english is not my main language, I don’t always understand the lyrics. Well if you love Zappa but speak french primarily, there’s Raoul Petite for you
5 – “Circus”, by Circus : this album taught me something very important : to shut up. Sometimes, there are unexpected silences in their music, and it creates a very peculiar atmosphere that can be mimicked by nothing else. I can’t say I used it in my album, at all, but I will probably in the future
Besides the release of “The Path” are there any other plans for the future?
I’ve already started to write the concept of the next album, which will be greatly inspired by the life of Lili Boulanger (and her music).
Also, a music video will be released with the album, and I have a few covers I still have to finish recording, as they were rewards of the Kickstarter campaign. I’m currently working on Shine On You Crazy Diamond, it’s nearly finished ; it’ll contain no guitar, no bass and no drums… you will see!
Haken, Fauna, Inside Out Music, 2023 Tracks: Taurus (4:49), Nightingale (7:25), The Alphabet of Me (5:34), Sempiternal Beings (8:24), Beneath the White Rainbow (6:45), Island in the Clouds (5:46), Lovebite (3:50), Elephants Never Forget (11:07), Eyes of Ebony (8:32)
Haken have never been a band to shy away from experimentation, yet no matter what musical pond they dip their toes into, their albums always sounds distinct. There’s no mistaking their music for someone else’s. Maybe it’s the syncopation and the speedy jazz-influenced guitar riffing. Or Ross Jennings’ signature voice. Or the band’s ability to make quiet music remarkably complex while still being able to lay down intensely heavy riffs that hold their own amongst the heaviest prog metal powerhouses of the day. And they can go back and forth between the two seamlessly.
Fauna is in many ways a typical Haken album, then, in the sense that is features the band’s playfulness and willingness to experiment. “The Alphabet of Me” has both rapped lines (before you get mad, even Dream Theater has tried that) and trumpet. “Sempiternal Beings” (sempiternal is a fancy word for eternal) has a masterful balance between the dark and light sides of Haken’s music. “Island in the Clouds” even has cowbell.
The ocean between us is where we find inner peace.
“Sempiternal Beings”
“Beneath the White Rainbow” is magnificently chaotic. The bizarre filter on the vocals make it seem a bit cloudy, and the heaviness of the music give it a djent edge. “Lovebite” has a pop edge with a catchy melody in the chorus, but the chorus remains heavy enough to make it palatable to my prog snob ears. Keyboardist Peter Jones’ (original Haken keyboardist who rejoined the band; not the Tiger Moth Tales PJ) swirling key acrobatics adds a layer of interest here as well, as does the brief guitar solo in the final third. The drum blast beats to open the song are anything but pop.
“Elephants Never Forget” is the prog star of the record and the best song here, in my opinion. This is the kind of song that made me fall in love with Haken a decade ago. It has the playfulness of “The Cockroach King” with the epic grandeur of “Crystallised.” The vocal harmonies return, although they probably could have been used to even greater effect. But they are there. The song’s length gives it space to breathe and move, which is generally what holds my interest in music. And it doesn’t get more prog than singing about the “leviathan of Doggerland.”
I think the album would have been better served by ending on this track rather than “Eyes of Ebony.” It has a sort of swell to it that feels complete. “Eyes of Ebony” is still a great track, especially once it gets rolling, but I don’t think it’s the best choice for an album closer. It kind of just tapers off, leaving the record on a bit of an uncertain note. “Elephants Never Forget” has a satisfying ending.
Truth be told, I’d be perfectly happy if Haken made an entire album of songs like “Elephants Never Forget,” rather than the rabbit trails they often go down into other musical genres. A lot of the electronic, rap, etc. does very little for me, but I appreciate how they are able to fold those elements into their sound without compromising their style of music. I generally prefer the softer elements in Riverside’s and TesseracT’s music over Haken’s softer side, but that may be because both of those bands have a spacier Floydy edge that Haken doesn’t really have. It all comes down to preference. All in all this is another solid record from one of the foremost names in the prog metal scene today. It’s one of the best records released thus far this year, second only to Riverside’s ID.Entity.
The Aaron Clift Experiment, The Age of Misinformation, 2023 Tracks: The Age of Misinformation (4:57), L.I.A.R. (5:14), Bet on Zero (10:43), Dark Secrets (3:35), Rise (5:55), The Color of Flight (5:45), Málaga (4:49), Weight of the World (5:47) Players: Aaron Clift (vocals and keyboards), Anthony Basini (guitar), Clif Warren (bass), Pablo Ranlett-López (drums and percussion)
The Aaron Clift Experiment has gradually built themselves a solid following and growing respect in the prog world since their debut in 2012. The Austin-Texas proggers now have four studio albums and two live EPs under their belt.
On The Age of Misinformation, there are some glimpses of Steven Wilson/Porcupine Tree, 80s Rush, and Southern Empire. There are a variety of styles on the album, from heavy protest rock (“The Age of Misinformation”) to jazz fusion-ey rock (“Bet on Zero”).
The political nature of the opening track is a little in your face, which jarred me a bit at first, but the album pretty quickly settles down, and the melodies and musicianship promptly overrode my initial misgivings. It also helped to realize this record is more of a response to the overall experience of the last few years, rather than a political screed. I guess I’ve been so shaken by the same sorts of things the band is singing about that I’ve come to be repelled by any mention of it! Ha. But in the end, music is probably the best way to deal with these sorts of emotions. And what better way to do it than with a blend of hard rock, jazz, drum solos, and big band horns?
Oh yeah, did I mention there’s a drum solo on “Bet on Zero”? I can’t remember the last time I heard an extended drum solo on a new studio album. Great to hear. It reminded me a bit of Jethro Tull. In fact, musically the band reminds me a lot of Tull. Not because they necessarily sound just like Tull, but because they have that same approach of “we’ll try anything” to making music. There are lots of sounds used to wonderful effect. And lyrically they aren’t afraid to tackle difficult subjects, a fear Ian Anderson also has never had.
“The Color of Flight” is a quieter track with dense layering. Simple percussion, layered keyboards, violin. It’s a nice break from the heavier rock found on much of the rest of the album. “Málaga” has a strong Porcupine Tree influence, with a steady beat and keyboard atmospherics.
The variety on the record keeps this one interesting throughout. The album is under 50 minutes, but the different sounds and styles takes the listener on an exciting journey. The production value is high on the album, along with a very clear mix. The melodies and vocal lines are backed by intelligently placed guitar lines and backing instrumentation like the horns and violins. The result is very polished, making The Age of Misinformation certainly worth checking out.
Riverside, ID.Entity, InsideOut Music, January 20, 2023 Tracks: Friend or Foe? (7:29), Landmine Blast (4:50), Big Tech Brother (7:24), Post-Truth (5:37), The Place Where I Belong (13:16), I’m Done With you (5:52), Self-Aware (8:43)
It’s been a long four and a half years since Riverside gave us their brilliant Wasteland, an album we seem to have been living in the years since its release. In 2019 I saw the band live for the first time, and I was blown away. It may have been the best concert I’ve ever attended. I was a fan before, but after that I became a FAN. I’m even a member of their fan club, Shelter of Mine, and I rank them up with Big Big Train as one of the finest bands in the progressive rock scene.
Perhaps you’re thinking there goes all objectivity in this review, and perhaps you’re right. Or perhaps Riverside really can do no wrong. I can think of very few bands that have never put out a bad album, especially over two decades of writing and touring. And yet here we are – their eighth album, multiple EPs, a few live albums (including one only available to fan club members), and they’re still putting out winners. Whether they’re heavy, quiet and atmospheric, or somewhere in the middle, Riverside have mastered all aspects of their sound.
Upon first listen, ID.Entity struck me as being a slightly new direction. I thought I remembered the band saying a couple years ago that their next album would be heavier, which made me think it might be more like Anno Domini High Definition, arguably their heaviest album to date. ID.Entity isn’t that heavy, but it’s heavier than Wasteland, which was, to be sure, a different album for Riverside. An excellent album, but different. Their first record without Piotr Grudziński on guitar, after his tragic passing in 2016, but before Maciej Meller joined them as a full member (he toured with them from 2017-2020, joining them as a full member in 2020). This album sounds like a more traditional Riverside album, with guitars taking a more prominent role again.
The more I listen to it, the heavier it sounds. The guitar riffing towards the end of “Big Tech Brother” is brilliantly headbangable. Michał Łapaj’s keyboards come in on top of that at the end, but it doesn’t lighten the sound at all. Łapaj’s touch on Riverside’s sound may be more recognizable than any other keyboardist in progressive metal, besides Jordan Rudess, of course. Łapaj’s signature Hammond along with his other synth sounds have long set Riverside apart from more generic progressive metal crunchers. I was especially impressed when I saw them live. He brings a real tube-powered Leslie speaker (or some similar speaker) to get an authentic Hammond sound out of his modern keyboard.
As usual, Mariusz Duda demonstrates why he’s one of the best bassists in the business. His crunchy bassline to open “I’m Done With You” is extremely satisfying, and it sets the stage for some grittier vocals in the chorus. Much of the song is stripped back a little, with pretty basic drums and a relatively simple bassline, but the guitar and keyboard lines are distinctly Riverside with a very catchy melody. Taken together, the song is actually pretty heavy.
You are not my judge You are not my God You are not my own CEO Why don’t you simply shut your mouth And take your poison from my soul Far away
I’m Done With You
Some of the vocal lines on “The Place Where I Belong” are a bit crowded in the quieter parts of the song – a lot of words condensed into a smaller musical space. But it’s a long song – their longest since “Second Life Syndrome,” in fact. And yet the song delights in the final third with this heartfelt lyrical passage:
I don’t have to be the best Feel pressure all the time The ‘winner takes it all’ is not my thing Stop comparing me to someone else’s dreams Let me stay in the place where I belong For your bar is set to high I’m sorry, I’m getting out of this race Don’t want to take my part For your bar is set to high I’m sorry ,I’m checking out of this race Don’t want to share my part For your bar is set to high I’m sorry, I’m getting out of this race Don’t want to take my part…
The Place Where I Belong
I suppose the ironic thing here is Riverside really are the best.
Lyrically this album touches on themes of disconnection from others via social media and the associated polarization, as well as themes of big tech and government overreach. Considering the band members grew up in the waning days of communism in Poland, their words of warning on “Big Tech Brother” should wake all of us up.
So what’s it like To stick your head in the sand To choose ignorance “I’ve nothing to hide,” you say “It’s all okay and fine” Being tracked Being parsed Being mined Modified Being used Being searched Being lied to Monetised All that we’ve got Is not for free at all
When this life for everyone becomes too hard What we must give in return is a bit too much Mass control
Big Tech Brother
“Post-Truth” deals with the frustrations of the constant news barrage designed to keep us all perpetually enraged. How do we go on living in a world like this?
In a constant lie In a constant lie I live Can no longer tell Days from nights
Post-Truth
All these ideas, along with the other songs on the album, share common themes related to how we interact with and through the digital world. How we relate to each other, how media entities influence us, how companies and governments spy on and control us. Extremely relevant lyrics that aren’t pushy but remain a call to wake up to what’s happening. It’s a message pleasantly packaged in Riverside’s signature style of hard progressive rock. Lyrics have been an integral part of Riverside’s appeal to me since I first began listening to them. Thankfully that streak continues on ID.Entity.
This album contains everything I love about Riverside. Duda’s stunning vocals, his intricate bass, Floydian drums, synthy soundscapes and driving organ, and the Floydy guitars. Riffs abound, making it a very enjoyable listening experience to rock out to. With all that, is it too early to declare ID.Entity THE album of 2023? Maybe it is, but other bands are going to have to work awfully hard to top this.
From the inbox this morning, we got sent this new single from UK-based band, Barricane. The group is a six-piece based around singer songwriters Rosy Piper and Emily Green. Also featuring Charlie Lane (bass), Chris Alchin (keyboard, acoustic guitar and synt), Hamish Wall (electric guitar), and Gary Neville (drums).
“Saltwater” packs a lot into a mere five minutes. It begins with atmospheric guitars and spacey drums with ethereal vocals over the top before gradually building. The real treat is the ending where the song shifts into a proggy synth space before the electric guitar comes in for a hard rock solo complete with a wall of drums. It’s great. Check it out.
Multi-platinum selling English supergroup ASIAannounce they are to releasefor the first time ever on vinyl ASIA‘FANTASIA, LIVE IN TOKYO 2007’as a 3LP set.Recorded on Asia’s 25th anniversary 2007 world tour, and featuring the reformed original line-up, FANTASIA, LIVE IN TOKYO 2007is to be issued on vinyl as a 3LP set with booklet,including band photos, and sleeve notes through BMG Records on 24th February 2023.
Celebrating the 25th anniversary of ASIA’s formation, this exciting 18-track live show from their 2007 world tour features the reformed original line-up pooling the talents of lead vocalist/bassist John Wetton (King Crimson), Steve Howe (guitars, Yes), Geoff Downes (keyboards, Yes and Buggles) and drummer Carl Palmer from Emerson, Lake & Palmer.
The setlist focusses on their globally successful 1982 debut album Asia and features key tracks Only Time Will Tell, Sole Survivor and their worldwide anthem Heat Of The Moment along with select tracks from their second LP Alpha and one song each from the band members’ previous bands – Video Killed The Radio Star,Roundabout, Fanfare For The Common Man and The Court Of The Crimson King.
Multi-platinum
Progarchy 