Tag: Progressive rock

ARTUR BARYSHEV Talks Debut Album “Voices from the Past”

On By NickIn progressive rockLeave a comment

Back in December, you launched an album entitled “Voices from the Past.” How do you feel about the release? 

I feel like I have reached a certain milestone. This is my debut album of my own music. I have been a video game composer and sound designer for many years, and it was hard to find time for my stuff. Finally, I was able to do it. I feel satisfied. And I hope people like the result. In many ways, it depends on this whether I will actively continue such musical activities. On the other hand, I am a little cunning, because I’m already preparing material for the next album. However, I wanted to add some drama.

How much of a challenge was it to work on the album?

It was difficult to find time for one music while writing other music. For several years, while bit by bit preparing this album, I was engaged in the recording of the orchestra for video game projects (Cinderella: New Story and Modern Warships to name a few) and the sound design of many projects, including Mobile Legends franchise. Without even a primary musical education, I was engaged in creating arrangements and even creating scores for the orchestra, recording with wonderful people from the Budapest Scoring Orchestra (by the way, in my plans for the future there is an item “record an album with a live orchestra”). In addition, I am the father of two children. And I hope you can imagine how difficult it is to fit into this schedule the creation of deeply personal music, and what a challenge it was for me.

Speaking of challenges, have you set any in the early phase of what has become the final result?

The main challenge for a guitarist (and I am a solo guitarist primarily) is maintaining the skill. If you do not practice the guitar professionally and constantly, then the skill will undoubtedly fall. I practice every day for several hours, so as not to waste it. The writing of this album allowed not only to leave the skill at the same level, but also to strengthen it, what should be reflected in the next album, which will be devoted mainly to guitar music.

Otherwise, I tried not to set myself any tasks initially. The album began spontaneously with a few unrelated singles, but soon grew into something more, which has now taken shape and is available for everyone to listen to. And it’s wonderful!

Tell me about the different instrumental aspects that you explore on these songs.

As I already said, I have no musical education and I had a very little experience of working with musicians. On this album, I worked with a saxophonist on two tracks, and it was interesting and instructive. First, I did a mini-casting. It turned out that choosing a saxophonist who understands your music is quite difficult. I went through four musicians before I found the right sound. Then I realized how diverse the approach to music could be, depending on the personality of the musician, his taste and style of playing. It may sound trite to many, but live music is called “live” because it breathes and has a billion nuances. In future releases, I plan to use as many live musicians as possible. At this stage, I play almost all the instruments myself. It was extremely interesting to explore and apply them in the process.

What is your opinion about the progressive rock scene today? 

I learn about many progressive rock bands by accident. For example, I found out about “The Dear Hunter” by stumbling upon their vinyl cover on the web, I liked it, after which I began to listen to their album, and only then I thought “damn, why didn’t I know about them before?” My opinion is that progressive rock has too few listeners these days. Critically few! And this needs to be corrected. It is hard to say how to do it, but we, as musicians, will try to do our best. Do you notice how various prog rock, fusion and city pop albums from the 70s and 80s are now popping up on YouTube and gaining new life? It is kind of a renaissance, the music is finally finding its audience after decades, and it is sad and beautiful at the same time. Accordingly, there is a chance that our albums will find their audience over the years. Or will it happen now? You decide.

Let me know about your influences—the artists that in a way shaped and continue to shape your music.

As a guitarist, I have to say that my main influence was naturally guitarists. Since childhood I admired Yngwie Malmsteen, Steve Vai, Joe Satriani. Now, if you suddenly ask “who is the best guitar player in the world?” without hesitation I will answer “Guthrie Govan”. These are the people who shaped my approach to guitar solos. As for the music in general, I like a wide range of genres, from pop to heavy metal. I am also fond of video games and movie soundtracks. Surprisingly, with all of the above, in recent years I just fly away from Tatsuro Yamashita. This is, perhaps, my main musical ideologist and a person who needs to be equal musically.

If we talk about my favorite progressive rock, jazz and fusion bands, then these are The Dear Hunter, Snarky Puppy, Casiopea, Kansas, Tropea, Kingo Hamada, Jeff Lorber Fusion to name a few.

What are your top 5 records of all time?

The Dear Hunter – Act IV: Rebirth in Reprise (2015)

Snarky Puppy – We Like It Here (2014)

Guthrie Govan – Erotic Cakes (2011)

Tatsuro Yamashita – For You (1982)

Casiopea – Casiopea (1979)

Besides the release of “Voices from the Past” are there any other plans for the future?

Working more with live symphony orchestras and video game soundtracks is my passion. Record the next album with a focus on virtuoso guitar solos (work in progress). Record my own album with an orchestra. To work more with different musicians, to participate in collaborations if possible. To travel more and gain emotions, then to express them with the help of music. To live and enjoy life itself.

“Voices from the Past” is out now, and is available from Bandcamp.

An Interview with SCIOLENT

On By NickIn progressive rockLeave a comment

Sciolent is a one-man art rock band based in Germany who recently launched a new album entitled “Chiaroscuro.” The 11-track release sees the young musician delving deep into a unique blend of alternative music, progressive rock, and even shoegaze.

Speaking for Progarchy, Sciolent talks about what it took for him to come up with the release. Find out more below.

You launched an album with Sciolent entitled “Chiaroscuro” back in December. How do you feel about the release? 

I was and still am very proud of it. It’s been in the making for a long time and finally releasing it into the world was a strange but rewarding feeling. I received some lovely positive feedback for it and that makes me happy of course. What’s great as well is that I’m still really content with it myself – it’s already my fifth album, but it might be the first one that I still enjoy listening to even after it’s put out. I spent a lot of attention to the compositions and arrangements down to the details and it seems to pay off.

How much of a challenge was it to work on the album?

Quite a big one, to be honest. I started teaching myself how to play guitar and bass during the making so that I could record all instruments except the drums on my own. Doing that, writing and recording the songs, producing, mixing and mastering it all would have already been a challenge, but to do it all while going to university and working on my Bachelor’s thesis and other projects was a wild ride as you can probably imagine. I don’t regret any of it though, it was a lot of fun and especially during lockdown it helped me cope with what was going on and find some meaning and inspiration.

Speaking of challenges, have you set any in the early phase of what has become the final result?

I simply wanted to reach my current potential in composing and arranging and I think I managed to do that. The advantage of taking your time with such a project instead of racing towards a deadline is that by the end you have a much bigger collection of songs to choose from, so you can pick the very best out of them and don’t have to include fillers.

Tell me about the different instrumental aspects that you explore on these new songs.

Well, a lot of it is centered around the interplay of neo-romantic piano figures and spacey guitars. You can hear that combination on songs like Balliamo Sott’Acqua, Our Worst Fears Realized or Slowing Down Time for example. From time to time there are also heavier passages where everything sort of erupts to counteract that melancholic dreamy vibe of the softer parts of the album. With the basslines underneath I tried to play quite melodically (without being too flashy) and weaved in some counterpoints here and there. And for the drums I wanted to find a good compromise between compelling groove and creative drumming – I’m not a drummer so I had to play that on my MIDI keyboard and I don’t know how playable these rhythms would actually be, but I think they feel good in context with the other instruments.

What is your opinion about the progressive rock scene today? 

That’s a tough question for me because I haven’t been too invested in that scene over the last couple of years. I love that Porcupine Tree got back together, Closure / Continuation was a great album and seeing them live was a huge highlight and bucket list experience for me. It’s also great to see what some of the young British bands like Black Country, New Road or black midi are doing. I think there’s a lot of progressive or avantgarde spirit in there, even if some people see them more in the post-punk field. Those genre boundaries seem to become obsolete anyway though, it’s just good to know that exciting new music is being made and – even better – people are actually listening to it!

Let me know about your influences—the artists that in a way shaped and continue to shape your music.

Some of my longstanding influences include bands like Muse, Radiohead, Oceansize, Porcupine Tree, Pink Floyd, King Crimson and Talk Talk. Muse for example were the band that became my introduction to the world of ambitious rock music when I was a kid so they will always have a special place in my heart. For this new album, I think especially Oceansize were a big influence – when I discovered them three years ago, I couldn’t stop listening to them for months. Effloresce and Frames are two of my favourite albums of all time, they just click with me on so many levels and some passages on “Chiaroscuro” are referencing them a little bit.

As of lately, I’ve also been listening to a lot of shoegaze which found its way into “Chiaroscuro” in terms of sound design and dream-like atmosphere. My favourites in that genre are Slowdive and Curve, but there has been and still is loads of talent across so many bands and artists.

Other bands I’ve been digging recently are Wolf Alice, the aforementioned Black Country, New Road, Jockstrap and Just Mustard.

And then there’s also bands and artists that belong more to the pop spectrum like Depeche Mode or Lana Del Rey that I admire. Developing a sensibility for a really good pop song is an extremely important skill to have as a songwriter in my opinion.

What are your top 5 records of all time?

The list changes from time to time, but at the moment it probably looks like that:

  1. Oceansize – Effloresce
  2. Steven Wilson – Hand. Cannot. Erase.
  3. Muse – Origin of Symmetry
  4. Radiohead – OK Computer
  5. Oceansize – Frames or Pink Floyd – Dark Side of the Moon (can’t decide, both deserve a top 5 spot!)

Besides the release of “Chiaroscuro” are there any other plans for the future?

I’m looking forward to potentially play some of my music live, although solid plans about that have yet to be made. Also I’m pretty much constantly coming up with new music, so maybe there will be more of that as well. I don’t think there will be another full album this year, but an EP or some singles are possible. Stay tuned!

“Chiaroscuro” is available from Bandcamp.

VENTIFACTS’ Mixture of Unconventional and Catchy on “Chronic Town” is a Rewarding Experience

On By NickIn progressive rockLeave a comment

“Chronic Town” by Brattleboro, Vermont-based Ventifacts is an experimental rock album that explores the world of microtonal music. The band’s use of unconventional tunings and scales creates a sound that is both familiar and alien, with each track taking the listener on a journey through a variety of musical landscapes.

The record opens with “Wolves, Lower,” a track that sets the tone for the rest of the album with its blend of pounding drumwork, courtesy of Connor Reilly, and intricate microtonal melodies by guitarists (and also singers) Damon Waitkus and Been Spees, as well as bassist Oliver Campbell. The band’s use of unconventional tunings and scales is particularly noteworthy, with each track featuring a unique and distinct sound.

One of the standout tracks on the album is “1,000,000,” which showcases the band’s ability to create complex and dynamic compositions that incorporate elements of microtonal music. Ventifacts’ use of unconventional chord progressions and dissonant intervals adds a layer of tension and unease that is truly unique.

The production on “Chronic Town” is excellent, with each instrument and vocals given a clear and distinct place in the mix. The use of unconventional tunings and scales is also well-executed, with each track featuring a unique and distinct sound which works extraordinarily well in the song format.

Overall, “Chronic Town” is an outstanding album that showcases Ventifacts’ mastery of the experimental rock genre and their approach to microtonal music. It is a must-listen for fans of “non-regular” and experimental music, and anyone looking for an intellectually stimulating and musically challenging listening experience. The band’s ability to blend elements of microtonal music into a cohesive and enjoyable rock album is truly impressive.

“Chronic Town” is available on Bandcamp.

Chronic Town by Ventifacts

Album Review – JPL’s “Sapiens Chapitre 3/3: Actum”

On By Bryan MoreyIn progressive rock5 Comments

JPL-SAPIENS-3-v3-300x300JPL (Jean Pierre Louveton), Sapiens Chapitre 3/3: Actum, Quadrifonic Records, March 2022
Tracks: Paradis Perdu (5:53), Mon Cercueil (6:08), Alia (La Mahine) (4:50), Dansez Maintenant (5:12), Memento Mori [a. Marche Vers l’inconnu, b. Tempus Fugit, c. La Mort Du Roi, d. Paria, e. Acta Fabula Est] (23:01)

Over the last several months, Progarchy HQ has received a fair number of CDs from France for review. The first such record is the third album in a trilogy of records about the history of humanity from Jean Pierre Louveton, under the alias JPL. Louveton is perhaps most well-known for his work with NEMO, a now on hiatus French progressive rock band (sort of on hiatus – the band is releasing a re-recorded version of an earlier album later this year). Since the lyrics are in French, much of Louveton’s work is likely unknown to all but the most dedicated of English-speaking prog fans.

Sapiens Chapitre 3/3: Actum is the only album of the trilogy I have heard, but I must say it is quite good. It travels the breadth of progressive rock, with hard classic rock elements, forays into jazz and fusion, and swashes of symphonic rock, especially most prevalent in the album’s 23-minute epic, “Memento Mori,” which is split into five tracks on the CD.

As you might expect, since it is the final chapter of a trilogy of records, the album sounds like it is picking up in the middle of a story. There isn’t really a big build-up in the first song, “Paradis Perdu.” It has an instrumental opening for the first few minutes, but it doesn’t strike me as being any sort of overture. Even though I haven’t heard the other albums, I quite like that this one gets right to the point. At 46 minutes in length, the album lacks the fluff that often gets padded into many progressive rock albums today.

“Mon Cercueil” starts off pretty slowly – perhaps too slowly – but it digs into a nice bass groove in the middle of the track with a brooding layer of synths over the top and complex drumming lifting up the back end. This moves into a faster tempo section with a vocal duet between JPL and Stéphanie Vouillot, who also plays piano on “La Mort Du Roi” and “Paria.” She has a lovely voice which I wish had been used even more on the record. “Mon Cercueil” ends with a great guitar solo that foreshadows the closing of the record.

YouTube – “Mon Cercueil”

“Dansez Maintenant” has a bit of an unexpected surprise with the inclusion of a Hurdy Gurdy played by Marguerite Miallier. The Hurdy Gurdy (vielle à roue in French) is a medieval-period stringed instrument used primarily in European folk music (German metal band Saltatio Mortis also have a Hurdy Gurdy player). It is operated by turning a wheel at the lower end. It adds a very distinctive sound, somewhat similar to how a bagpipe might sound if played at a fast tempo.

“Memento Mori” travels through five different movements, and it is heavy on the instrumentation. There are large symphonic elements, along with a heavier guitar sound in parts. “Tempus Fugit” is a particularly strong track in the way it combines the heavier rock sound with the orchestral tones. JPL’s vocals on “La Mort Du Roi” are more spoken in a quick whispered fashion at the beginning of the track before they are sung in a slower fashion. The band takes its most experimental route on “Paria,” with a fast jazz fusion sound and even a saxophone solo featuring Sylvain Haon. The album closes with a stellar guitar solo from JPL that builds along with the symphonic parts to a satisfying ending to the album, and I suspect also a satisfying ending to the trilogy.

The artwork by Stan Decker is another feather in the JPL cap. Somewhat reminiscent of Roger Dean’s artwork, although distinctively different, the album cover has a lot of detail that draws you in for a closer look. Jupiter in the background, Earth in the center, rising columns of green Dean-esque shapes with alien-looking bugs and flying sea rays roaming the skies. And that isn’t even all of it. The CD booklet and packaging contain further art, which certainly adds to my enjoyment of the record.

Awaken your inner Francophile and check out JPL’s Actum. Musically it will not disappoint, and for the ear accustomed to English styles of singing, the French lyrics and style of singing might be a nice change of pace for you.

Stay tuned for more reviews featuring French artists in the near future.

http://www.jplouveton.com/home-2/
https://www.quadrifonic.com/en/home/552-jpl-sapiens-chapitre-33-actum-cd.html

Bandcamp (CD quality): https://jplouveton.bandcamp.com/album/sapiens-chapitre-3-3-actum
Bandcamp (High Resolution audio): https://jplouveton.bandcamp.com/album/sapiens-chapitre-3-3-actum-hr

Album Review: Bjørn Riis – “Everything to Everyone”

On By Bryan MoreyIn Atmospheric rock, progressive rock, progressive rock music1 Comment

BjoBjørn Riis, Everything to Everyone, Karisma Records, April 8, 2022
Tracks: Run (5:56), Lay Me Down (11:40), The Siren (7:20), Every Second Every Hour (13:20), Descending (4:33), Everything to Everyone (7:28)

At the risk of throwing objectivity out the window, I’ll start this review by saying I absolutely love this album. I think it’s the best music I’ve heard in a long time. But it’s Bjørn Riis! By this time I expect no less than the best from him.

While I still haven’t quite gotten into Airbag, the band for which Riis is most well known, I love his solo albums. They’re all excellent, and they seem to get better with each record. His 2019 album, A Storm is Coming, was brilliant, and it made my year-end best-of list. I expect Everything to Everyone will be near or at the top of that list this year. To make a contemporary comparison, Riis’ style reminds me most of Steven Wilson, both his more progressive solo albums and his work with Porcupine Tree. Riis is on that same level, as well.

Rather fascinatingly, Riis says the influence for the concept behind this album came from Dante’s Inferno. He comments,

A bit pretentious perhaps, but I’ve always been fascinated by that very personal journey and the search for some kind of peace or redemption, while being both mentored and hurt along the way. Musically, I wanted to take the listener on that journey, experiencing both hope and anxiety.”

The lyrics are filled with emotion, reminding me at times of Mariusz Duda’s lyrics. Riis is clearly a very thoughtful man, and I’ve found his lyrics always resonate with me. There’s a lot of depth in them, which allows for reflection on repeated listens. The music is often melancholic, which I especially enjoy, and this is frequently reflected in the lyrics.

The opening instrumental track acts as an overture for the rest of the album. With a careful listen you’ll spot musical themes from this track throughout the album. Parts of “Run” are on the heavier side, which sets a nice stage for the record, which has both its heavier rock sides and its spacier contemplative moments. Both are equally alluring.

“Lay Me Down” may start off a bit slow, and admittedly it is a bit of a jarring transition from the heavy rock of the opening instrumental track. The song really catches its groove a minute 20 seconds in, though, when the drums kick in. A little later female vocals come in to back Riis’ soothing voice, and the result is very [don’t say Floyd, don’t say Floyd, don’t say Floyd] spacey. The song is almost 12 minutes long, so it ebbs and flows through various passages, some of which do indeed remind me of Pink Floyd. David Gilmour is obviously an influence on Riis’ guitar playing, and Riis lives up to his musical influences. The song also has its heavier parts, reflecting the opening track.

“The Siren” was one of the singles for the record, complete with its own video. It’s a haunting track on the relaxed side of Riis’ musical spectrum. The lyrics are from the perspective of someone sitting in the audience at a dance performance, where the dancer performs for both you individually and for everyone all at the same time. It’s an interesting dynamic, but the lyrics are also written in such a way that deeper meanings can be inferred. I’ve found mine own rather personal meanings in it, and as such the song has grown on me to the point where I find it very moving.

Bjørn Riis – The Siren – YouTube

I’m not the biggest fan of the artificial vocal distortions on parts of “Every Second Every Hour,” mainly because I think Riis’ voice is great and shouldn’t be hidden, but it doesn’t take away from the song too much. Just a minor quibble. I have to keep my enthusiasm in check somehow. Overall this song is epically wonderful. It’s over 13 minutes long, and like the other similarly long song on the album, it ebbs and flows along the range of Riis’ styles. The acoustic guitar and piano passages with simple singing abound, but these also give way to soaring guitar solos and walls of drums. The synth soundscapes help create a wall of sound that isn’t particularly dense, but it lays a beautiful background to the song.

“Descending” is another instrumental track that has an interesting name because the music actually appears to ascend rather than descend. It starts out quiet and gradually gets louder and heavier as more elements are layered onto the song. If we go back to the inspiration from Dante’s Inferno, however, I think we get our answer to that question. In Inferno, Dante is given a tour of Hell by the poet Virgil. Hell is depicted as a ring of concentric circles, with each circle filled with increasingly brutal punishments for increasingly heinous sins. As such, the story gets more intense the further Dante and Virgil descend into Hell. When viewed in this light, “Descending” makes sense for this particular song on this particular album.

The title track is a quintessential Riis track, featuring the spacey electric guitar solos, walls of acoustic guitars, and emotion-filled vocals. There’s also more female backing vocals. The song gradually builds as it closes out, with a wall of sound created through guitars, drums, and piano. It’s very Porcupine Treeish in the best of ways. The lyrics talk about reaching out for help as we stumble through the dark parts of life.

Put simply, Bjørn Riis’ Everything to Everyone is a thing of beauty in very dark times. The album reflects the good and the bad we experience through our emotions, and it tells a beautiful story through music and words. Do yourself a favor and buy this record. Dwell with it. Let the music and lyrics wash over you. You won’t be disappointed.

https://www.bjornriis.com
https://www.karismarecords.no
https://bjornriis.bandcamp.com/album/everything-to-everyone

Bjørn Riis – Everything to Everyone – YouTube

We Still Have Time – Marillion’s Message of Hope: “An Hour Before It’s Dark”

On By Bryan MoreyIn progressive rock6 Comments

marillion-ahbitd-1Marillion, An Hour Before It’s Dark, March 4, 2022
Tracks: Be Hard On Yourself (i. “The Tear in the Big Picture, ii. Lust for Luxury, iii. You Can Learn) (9:27), Reprogram the Gene (i. Invincible, ii. Trouble-Free Life, iii. A Cure for Us?) (7:00), Only a Kiss (0:39), Murder Machines (4:20), The Crow and the Nightingale (6:35), Sierra Leone (i. Chance in a Million, ii. The White Sand, iii. The Diamond, iv. The Blue Warm Air, v. More Than a Treasure) (10:51) Care (i. Maintenance Drugs, ii. An Hour Before It’s Dark, iii. Every Cell, iv. Angels on Earth) (15:18)

I may not be the most avid Marillion fan in the world, but of all the bands out there making music, they force me into deep reflection more than anyone else besides Devin Townsend. But where Devin Townsend forces me to be introspective, Marillion draws me outside myself. I disagree with their politics, yet generally I’ve found their perspective and the way they present it to be helpful in drawing me out of my own bubble. Their 2016 album, F.E.A.R., was a masterpiece in that regard, and it has been an album that has stuck with me since its release. I’m not ready to say that their latest record An Hour Before It’s Dark is on that level, but it is very good. I expect it will grow on me as time goes by. I’ve been slowly digesting it for a few weeks now, and I’ve been compelled to return to it more than any other album in that time.

Musically there are few bands that can match Marillion. Steve Rothery is one of the finest guitarists in the business. Pete Trewavas’s bass booms throughout, taking a primary role in various parts of the mix. Ian Mosley’s drums will no doubt win him awards, and Mark Kelly’s keyboards round out the Marillion sound. This is an album that sounds like a Marillion album. In many regards it sounds very similar to F.E.A.R. It’s a continuation, not a progression, but what did we expect? Marillion is doing what they do best, and who would fault them for that?

At first glance An Hour Before It’s Dark appears to be a rather dark album, although Steve Hogarth says despite the lyrical themes, the album is rather upbeat. I agree in part. There are dark and brooding elements of the music that are a lot like F.E.A.R, but there are also peppy tracks that defy their lyrical doom. “Murder Machines” is about the frustrations during Covid of not being able to be near loved ones for fear of killing them with love.

I put my arms around her
And I killed her with love
I killed her with love

Marillion – “Murder Machines” – YouTube

The opening track, “Be Hard on Yourself,” is a cutting critique of our culture of excess. The band extol the listener to “Be hard on yourself / You’ve been spoilt for years.” Like much of Marillion’s catalog, the melody and lyrics work their way into your ears. It’s catchy, yet the music is still unashamedly progressive. On the musical side of things, Kelly’s keyboards are particularly noticeable on this track. Hogarth’s signature style of speak-singing is in full force, bringing the lyrics into the forefront.

Cause of death: Lust for luxury
Cause of death: Consumption

The first two sections of the track examine the culture of consumption, but in the final section Hogarth offers a solution: get up and do something positive. He ends the song with such a call:

You can do better
You can do better
But do it now

We haven’t got long
We haven’t got long
To the end of the song

Be hard on yourself

Strap in
Get ready
Foot down
Push the button
Blow it all up
Blow it all up

Paint a picture, sing a song, plant some flowers in the park
Get out and make it better
You’ve got an hour before it’s dark…

As the late David Longdon told Progarchy last summer, “That’s the beauty of being human, we don’t get forever.” Make a change before it’s too late. Say a kind word, or at the least don’t say that unkind word. Lend a helping hand. We all can make a difference before it gets dark. The hope in this message alone makes the album worth listening to.

Continue reading “We Still Have Time – Marillion’s Message of Hope: “An Hour Before It’s Dark”” →

Album Review – Erewän’s “How Will All This End?”

On By Bryan MoreyIn folk music, folk rock, progressive rockLeave a comment

ErewaErewän – How Will All This End? – Anesthetize Productions, December 10, 2021
Tracks: Rising Sun on the Shore (4:06), Childhoods (5:05), Walk Away (5:32), Headline (7:07), The Banshee’s Keening (5:45), Witches of the Middle Ages (4:33), Twist of Fate (5:24), Evil’s In Us (8:14), Highlands (5:49)

Erewän’s late-2021 album, How Will All This End? has a fresh sound mixing a variety of rock and acoustic sounds. While Erewän may sound like a band name, it is actually the stage name for a Nice, France-based solo artist. Musically that may surprise you, since there is a rather heavy Celtic influence on the record. Erewän wrote all of the lyrics and the music, and Alexandra Lamia and Eric Bouillette guest on a couple of tracks. The rest of the music was performed by Erewän, who also made the artwork.

The album mixes elements of traditional progressive rock with folk music, particularly Celtic folk music. Irish whistles and violin are prevalent, along with acoustic guitar. Erewän plays some excellent electric guitar, as well. It’s a very pleasant album to listen to no matter where the music goes. At many times it’s rather soothing.

How Will All This End? is essentially a concept album, with all of the songs connected by the theme of the evil mankind has committed throughout history, and how that evil infiltrates each of us. The lyrics are sobering, and they force us to take a good look inside. Thankfully the music isn’t as gloomy as the lyrics can sometimes be.

Evil is deep down inside men
Evil is in each of us

Evil! Evil! Evil! Evil!
Man is a wolf to man, He is the danger
He’s proved it through the ages, man can be toxic
Obsessed with one thing: How to own more
More power or money, so he made up the war

– “Evil’s in Us”

As you can imagine, the record has some rather dark moments. “Headline” is a difficult track addressing the problems of bullying in schools and school shootings. It takes a very dark turn with the sounds of gunfire and screaming midway through the song. It’s a tough pill to swallow, but it’s a reminder of the evil we deal with in the world.

Thankfully the next song starts off more upbeat musically. “The Banshee’s Keening” has a very Celtic feel, as the name might suggest. I’ve always enjoyed the sounds of Irish whistles, which this song has in abundance, along with what sounds like fiddle in the background. The song is about exactly what the title says. A banshee is a spirit in Irish folklore that roams across the land “keening,” or wailing, in response to someone’s death.

“Witches of the Middle Ages” displays the calmer elements of the album, with a simple acoustic melody and the haunting Irish whistles and what I believe are bagpipes (it might be a guitar effect). The lyrics tell the story of a girl accused of being a witch and then executed by the Inquisition.

Thankfully it’s not all doom and gloom. In the lyrics of “Evil’s in Us,” Erewän gives us a glimpse of hope:

But demons rub shoulders with angels
Yet maybe angles could win sometimes
If you take time to listen to your heart
To your heart
To your heart

The final track is instrumental, which is a very good thing. The album is quite dark lyrically, and “Highlands” gives the listener a chance to decompress. It’s a soothing track, starting out acoustic with Irish whistles, piano, and strings before gradually adding in the rock elements. Midway through it jams into an electric guitar solo that retains the Celtic folk music styling with its melody. It’s a great bookend to the opening instrumental track, which eases the listener into the journey Erewän takes us on. Both songs remind me of Dave Bainbridge and Dave Brons’ solo work. If you’re a fan of their work, definitely check out Erewän.

My one complaint about the record is Erewän’s vocals can sometimes be difficult to understand. His accent is thick, which might leave the listener lost at times. I’ll compare it to the recent Premiata Forneria Marconi album, which features both English and Italian versions of the songs. I listened to the English version first, and I found Franz Di Cioccio’s vocals to be difficult to follow, although I really enjoyed the music. When I listened to the Italian version, his vocals sounded great and very natural. All that to say, I would love to hear a version of Erewän’s album with French vocals. I know that would limit the marketability of the record, but it still would be nice to hear.

Even as it is, How Will All This End? is a great album filled with a beautiful blend of rock and acoustic folk music. The lyrics make you think, which is what good art should do. The guitar solos soar, blending well with the Irish whistles. Give it a listen on Bandcamp.

Erewän Links: https://linktr.ee/erewan
https://www.facebook.com/Erewanproject/
https://anesthetize.fr/en/

Album Review – Drifting Sun’s “Forsaken Innocence”

On By Bryan MoreyIn progressive rockLeave a comment

CoverDrifting Sun, Forsaken Innocence, 2021
Tracks: King of the Country (11:37), Insidious (8:08), Dementium (9:11), New Dawn (6:49), Forsaken Innocence Part 1 (10:52), Forsaken Innocence Part 2 (14:53), Time to Go (2:29), Hand on Heart [Bonus Track] (4:49)

I’ve been following Drifting Sun for a while now, having reviewed two of their albums in the past rather favorably. I have to say that their latest, Forsaken Innocence, is their best record to date. The album is sprinkled with neoprog overtones, but there’s also a touch of baroque classical influence right from the get go.

One of my favorite aspects of Drifting Sun is the keyboards and piano, which shouldn’t be a surprise considering the band is the brain child of keyboardist Pat Sanders. His use of synth sounds and clean piano brightens up the album, giving it both prog flair and a depth of sound. John Jowitt’s bass adds a subtle low end that nicely complements the keyboards. Mathieu Spaeter’s guitar adds a baroque element along with the synths at times, as well as the heavier rock side when needed. He reminds me a bit of Martin Barre. Drifting SunThe wonderful Gareth Cole also plays guitar on “Time to Go,” along with Eric Bouillette, who also plays the violin on “King of the Country” and “Forsaken Innocence Part 1.” The violin adds a nice touch, which perhaps could have been used even more throughout. Even so the album sounds great as is. Jimmy Pallagrosi’s drums pull everything together in gentle crashes of snare and cymbal.

The vocals are courtesy of someone named only as Jargon on the band’s website. His voice matches this style of prog very well, and it is rather versatile. He sings in a few different styles throughout the album, adding a layer of theatricality to the record. He helps bring the story to life, as well as makes the album a real treat on repeated listens.

As you can see from the track listing, most of these songs are on the longer side. The music has the chance to grow and build. I love the way the album opens with a bit of a classical and fantasy overtone, which is carried throughout the album in various ways.

When played together, “Forsaken Innocence” Parts 1 and 2 create and almost 26-minute-long epic, with part 2 being a 15-minute-long instrumental track. These songs are the high point of the album. The instrumental portion is particularly excellent. The band really jam well together, and the length gives the song space to develop, grow, and move through different themes. Everything about it works so well, to the point that you get lost in the prog madness. The swirling synths, the corresponding guitars, the solid bass shining through, the drums keeping everything together. This song rocks hard. I love the moment when they move back into the main musical theme for the album with about two minutes to go. The melody repeats over and over, and it’s just so good.

The album closes rather quietly with the brief “Time to Go,” which is a nice little debrief after the 15 minute instrumental epic. The bonus track, “Hand on Heart,” doesn’t follow naturally from that [duh, it’s a bonus track], but it’s one of my favorite songs on the album. It has a heavy back and forth between chorus and verses with that great interplay between the keyboards, guitars, and bass.

The album’s lyrics have a dreamwork quality to them. They’re very poetic, which supports the baroque fantasy elements in their music.

I used to hope that life could bring me peace
Could lull asleep my deeply gnawing mind
I was a fool: the senses clear with time
I used to love to cure my old disease
Lovе led me to a thick of enmitiеs
I used to hope that life could bring me peace
I was a fool: the senses clear with time

A church bell grieves, a log in the fireplace smokes
And hums falsetto to the clock’s catarrh

My head on my hands, I watch from my lofty home
Spring, Summer, Autumn, and then, with Winter’s monotone of snow
I close my shutters – a time to be alone

Summer days gone, taking stock of the misty dawn
(fall in the well of dreams – wander through aimlessly)
I dream my way into treacherous labyrinths
Nothing can draw me away from this neverland
(a world of kisses sweet – birds singing merrily)
Sun rises in my heart, warming my aching soul

– “King of the Country”

Forsaken Innocence sees Drifting Sun at their very best. The album is thoroughly enjoyable with every listen. It’s heavy on the rock, the synths, and the story. Highly recommended.

https://driftingsun.co.uk/home
https://driftingsun.bandcamp.com

A View from the Top of the World

On By Mahesh SreekandathIn Heavy metal, progressive metalLeave a comment

It’s Dream Theater, so by default it has to be rich in melody and progressions. But, A View from the Top of the World is riveting too. Mike Mangini-John Myung duo crafts a razor sharp bass-drum framework – more than adequate to accommodate their typical musical complexity. And often tailored to precisely slice and frame this perpetual train of John Petrucci-Jordan Rudess orchestra. This balance in musicianship is striking — omnipresent melody, James LaBrie’s signature wails, and complementing bass-lines all live in systematic harmony. Resulting compositions are meticulously high grade.

Album revives and reinforces quintessential Dream Theater qualities, sometimes illustrating them in seemingly novel ways. For better or for worse Mike Portnoy was a captive of Neil Peart school of drumming. But Mike Mangini’s style allows them to evolve, beyond those ornate confines of Rush-metal blueprint. Clearly enabling that exhibition of seemingly novel influences from symphonic prog, and atypical passages often seen in their own side projects. Or at least we can now prominently hear those influences, which were merely latent in earlier works.

Image Attribution : Darko Boehringer https://dreamtheater.net/photos/images-words-beyond-tour-2017/

Aphrodite’s Child: A Retrospective

On By Reyna McCainIn progressive rock5 Comments

What could be described as an under appreciated psychedelic rock band from the late ‘60s and early ‘70s, Aphrodite’s Child, created several phenomenal songs worth hearing. They were a band comprised of three, main members: Evangelos Papathanassiou (Vangelis), Demis Roussos, and Loukas Sideras. With the combination of Vangelis’s extraordinary composing, Demis’s unique voice, and Loukas’s skillful drum work, this is a solid band worth coming back to.

From left to right: Demis Roussos, Vangelis, and Lucas Sideras.

The first song I heard by the group was “End of the World”. It was actually recommended to me by fellow Progarchist Connor Mullin. However, it was not until I heard the song “It’s Five O’Clock” that my eyes opened to how special the band was. The ending of that song dazzled me with its auditory brilliance. When the ending piano instrumentals gently floated into my ears, I was so shocked. The last 30 seconds consist of pure, psychedelic ecstasy. You can expect to be shocked by this band’s work throughout the course of their 3 albums. The short but oh so sweet musical endeavors of Aphrodite’s Child deserve to be discussed again and again. I’ve put together some of what I believe to be their best songs—enjoy!

“End of the World”—is one of my personal favorites because I find it so unique. It is the perfect teenage love song: full of doom and gloom (hence the name) and a feeling of being unwanted. It captures the romanticism of running away with someone you love and forgetting about everything else. But, it also deals with the unfaceable truth of rejection. Vangelis does such a wonderful job at setting the tone of when love feels apocalyptic, thanks to not only his awesome piano skills, but all of the other ominous sounds in the song. There is a great live version of this song on Youtube worth checking out. Every time I watch it I wish I could jump through the screen and be there; everyone’s outfits are superb. In addition, Demis’ opening vocals on the track are haunting in the best way possible. After hearing them, I was ready to drop everything and go to the end of the world with him! No questions asked.

“Good Time So Fine”—is my absolute favorite! This song made me fall in love with Demis Roussos. I have such a respect for his voice and musicianship. I adore this song’s playful tune. The pitch changes of Demis’ voice makes this song so much fun! It’s amazing that he is singing both parts of the song—I would have never known. The lyrics are sweet and feel like a breath of fresh air; it’s a song you’d happily be singing along to in the sunshine. The chorus makes you feel the freedom and joy that is love. This song feels like it belongs in a musical, which makes it easy to dance and sing along to. I watched a live recording of Aphrodite’s Child performing this song and it was so impressive to see Demis sing, play bass, and play the trumpet, all in the span of a three minute song. This song was made for Demis Roussos.

“Rain and Tears”—this song is an adaptation of Pachelbel’s Canon and is the band’s most commercially successful song. The most notable part of the song is its bridge. It transitions from a mediocre love song to a heart wrenching melody. The song could have remained in somewhat basic state, but it goes a step further. This is thanks to the masterful vocals of Demis Roussos. The song goes to such an ethereal level when Demis croons those beginning lyrics of the bridge. It’s no wonder this was such a hit.

“Marie Jolie”—can be described as one of the best love songs I’ve ever heard. Again, Roussos vocals transport the listener to a celestial level. It seems like his heart and soul were put into every word he sings, which makes the lyrics so intense. Roussos’s vocals add a profundity to the otherwise simple lyrics. My favorite lyric from the song is ‘Love is everywhere you are’ because Demis presents it so powerfully. Every time I hear this song it gives me chills and I find myself swaying to the soft combination of Demis’ voice and the graceful percussion provided by Lucas Sideras.

“The Four Horsemen”—is the perfect song to get in the Halloween spirit. With an electrifying guitar solo and haunting vocals and lyrics, this is one cool and timeless song. The song —and the entire album—refers to the Four Horsemen of the Apocalypse—Pestilence, War, Famine, and Death—referenced in the Book of Revelation. The lyrics are quoting from the scripture itself, adding to the eeriness of the song. You’ll feel like your in the end times listening to this song, but in the grooviest way possible.

Aphrodite’s Child has so much to offer and I am so happy to have been shown their music. A huge thank you to all the talented people that worked on any of their albums. Aphrodite’s Child’ will live on forever and ever.

A special thank you to Vangelismovements.com for providing such detailed information about the band.