Tag: psychedelic rock

The Unexpected Religious, Psychedelic Rock of The Electric Prunes

On By Reyna McCainIn classical, jazz rock, progressive rock, psychedelic rock3 Comments

The title alone may have made you unsure if this is the kind of music for you or weary of any music put out by these apparent galvanic fruits. However, I’m here to tell you that The Electric Prunes have some incredibly notable psychedelic rock opera songs that will quite literally bring you closer to the Heavens. The Electric Prunes are better known for their consistent and classic ’60s rock ‘n’ roll sound; “I Had Too Much To Dream Last Night” is a great example of this through the band’s garage punk vibe. “Onie” is another certified ’60s classic from the group, and a personal favorite of mine because of its iconic, delicate, and melancholic sound.

However, through the name of The Electric Prunes, composer David Axelrod created some of the most unique, spiritual, and coolest psychedelic rock. The songs I’ll be covering are from an EP and album that were sort of unnecessary, but intentional additions to the discography of The Electric Prunes. Personally, I think they are fascinating creations by Axelrod and worthy of praise by fans of psych. The following songs consist of delectable and extraordinary blends of R&B, rock, psychedelica, Gregorian music, soul, and jazz. So, get ready for a spiritual awakening of sorts.

Mass in F Minor was the EP that started this short, but very interesting phase for the band. It consists of six tracks which are entirely sung in Latin, and is almost thirty minutes of a psychedelic mass. What you’ll notice throughout the songs is the authenticity of Gregorian chant and its use of what is known as “stepwise motion”. Stepwise motion is when each note in a melody moves up or down a single note. It creates this singular and uniform sound, making this EP a respectable piece to this medieval craft. In addition, drummer Michael Weakly stabilizes a jazzy feel by holding all of the other musicians’ instrumental parts together. Interestingly enough, this release was sort of the start of the decline of The Electric Prunes due to their inability to keep up with their producer David Hassinger’s demands for the EP. The band played on every track, however, session musicians were brought in and, in a sense, took over the project. As unfortunate as this was for the band members, some great music was created. David Axelrod is really the genius behind this concept and why it works so well; he wrote and arranged everything. Axelrod’s style shines brightly throughout, creating such a solid set of confident and holistic tracks. Stripping it down to the basics: the blend of the vocals, electric guitar, drums, bass, and organ form this cadence that really itches the part of my brain that adores the aesthetics of the past.

Cover art for Mass in F minor EP

The opening track: “Kyrie Eleison”, better known from cult classic film Easy Rider, is sung boldly and outspokenly by lead singer James Lowe. I think Lowe did a great job on all the tracks—he really added so much mystique and graveness. There’s a point in the song when Lowe’s vocals are isolated. You really get immersed in it all because he truly sounds like a man of religious order, strongly citing a sacred chant for a congregation to hear. This song, along with the others, have a signature ’60s rock sound mixed with music that goes back hundreds of years. Without his superb vocals, I would not be transported to a daydream of ancient ceremony and royal garbs. The simple guitar riff and drum combo as soon as the song starts is cool and collected. The guitar reverb is essential in creating that dreamy, psychedelic effect. Every time I hear it, I can’t help but sway. Another cool thing in the song is this brief guitar rendition of the song “My Favorite Things.” Guitarist Ken Williams plays this demented version of it for just a few seconds towards the end of the song.

The song “Credo” is my favorite example of the use of stepwise motion. The song starts off pretty regular and then it jumps to this faster pace cadence with Lowe’s vocals leading a fleet of instruments. It is only a small portion of the song, but it is so catchy. Lowe is surfing off that singular melody with a massive wave of instruments behind him. The rest of the song is pure instrumental rock ‘n’ roll with subtle trickles of allure.

My personal favorite song is the last one off the EP titled “Agnus Dei”. This song starts and ends with so much confidence. I can see David Axelrod’s vision so clearly with how he arranged and directed this piece. This song does not quiver or feel unsure of itself, but instead almost stands on its own as this beautifully written piece. The fusion of stringed instruments and electric guitar blend with grand conviction. In the beginning, Lowe sings the title of the song and after a momentary pause the stringed instruments emerge gracefully. Then, the rock ‘n’ roll begins: Weakly starts things off with a simple groove, and then, the iconic, echoing reverb of the electric guitar takes over. The unification of the orchestra and rock is one of my favorite parts of the song. I can’t help but get lost in the music. Midway through is this instrumental tunnel the musicians take you into. It’s Williams’ guitar and the strings surfing through this cosmic echo chamber that I never want to leave. Ultimately, this song is solid throughout and unwavering.

Listen to “Agnus Dei”—my favorite song from this EP

Not too long after Mass in F minor, their next album, Release of an Oath was released. It is the same concept as its predecessor with its religious undertones intertwined with rock and jazz fusions. This album is centered more around R&B type tunes and is sung entirely in English. At this point, the original Electric Prunes had disbanded. The musicians playing on this album are an entirely new set of people. It was kind of sad to learn that this was not the original band nor was it done in the true spirit of The Electric Prunes, however, some truly unique music was born in the process; there is no doubt about that. Just like the previous release, Axelrod created a solid set of songs that matched one another very nicely. The instrumentals are an easy listen for all fans of psych, so it’s a no brainer to check this album out. My favorite parts of this album are the drums and keyboard.

David Axelrod, the man behind Mass in F minor and Release of an Oath

“Holy Are You” is the most recognized song from the album, and rightfully so, because this song is absolutely timeless. The beginning, middle, and end take you on this beautifully mastered journey. Within the first minute of the song we go from a simple keyboard and vocal combo to a groovy R&B beat. The percussion in this track is incredible. It is no wonder this song has been sampled many times by Rap and Hip-Hop artists. (Sidenote, “Respect Mine” by Fat Joe is a perfect example of a great song that sampled “Holy Are You”). Drummers, Earl Palmer, Gary Coleman, and Richard Whetstone elevate the song entirely and are the reason the song is such a contemporary tour de force, in my opinion. With every groove and fill carrying the song to mastery, I can’t help but dance and sing along every time I hear it. A part I really love from the song is when you can hear the percussion, flute, bass, and keyboard create this enchanting jam. The keyboard adds this delightful twinkling sound to the mix that just whisks the listener away into an instrumental dream. And, of course, the insanely awesome guitar solo is another notable feat. Every note and every instrument in this song feels absolutely necessary and purposeful. I can not stress this enough: the unity of the orchestra, R&B, and electric guitar are perfect. This song is simply fantastic and is truly an example of Axelrod’s best.

Listen to this legendary R&B song “Holy Are You” by The Electric Prunes

The other song I want to briefly cover from this album is “Closing Hymn”. As you can tell from the title of the song, it is the final one on the album. I really enjoy the repetition in this track and the tune overall. Again, you have this killer drum beat that holds everything together and makes you want to dance along. Despite being such a simple note change from up to down and vice versa, keyboard Don Randi performs a wistful lulling effect through this. The dreamlike sound of the notes brushes you softly like the touch of flower petals and the subtle reverberation in the ending of the notes are a hollow, ethereal echo. It is such a pretty song and a great close to the album.

I learned a lot while writing this review, but I’m most excited about hearing more of David Axelrod’s works. I listened to a few of his solo works and I have to say I think I found another style of music that deeply resonates with me. He does such a great job blending genres together like I’ve never heard before. Even though this psychedelic gospel wasn’t what the original Electric Prunes had in mind, some truly special melodies were made in the process. David Axelrod did good in the name of The Electric Prunes. Thank you to all the musicians involved in these pieces and thank you for reading.

A huge thank you to The Electric Prunes website for all of this amazing information: http://www.electricprunes.com/

Cleaning the Outhouse: The Gong Farmers’ “Guano Junction”

On By Bryan MoreyIn Atmospheric rock, classical, electronic, progressive rock, psychedelic rockLeave a comment

The Gong Farmers -The Gong Farmers, Guano Junction, Spaceward Records, November 5, 2021
Tracks: As Sunlight Falls 1 (2:26), Drive (6:14), Pip, Squeak and Wilfred 1 (3:56), Guano Junction 3 (2:43), Evergreen (4:24), As Sunlight Falls 2 (2:42), Vista de Toledo (3:22), Guano Junction 2 (3:52), Wednesday Afternoon (4:42), SHAVE! (1:41), Winter Hill (3:32), Dark Skies (4:19), Pip, Squeak and Wilfred 2 (3:28)

I have to start off this review talking about the best band name I’ve heard in a while. Before today I was blissfully unaware of what a gong farmer was, having not heard the term before receiving this CD for review. It’s kind of funny, actually, considering one of my main focuses as a history major in undergrad was early modern Europe, but there’s always more to learn. I looked it up, and a gong farmer was someone in Tudor England tasked with cleaning excrement from outhouses. While that might lead you to believe that Guano Junction is a steaming pile of… gong, nothing could be further from the truth. The album is quite good, with a mature sound and a delightful array of influences.

The Gong Farmers

The Gong Farmers are primarily Mark Graham (vocals, synthesizers) and Andrew Keeling (classical guitar, flute, piano, organ), but they are joined by a very talented cast of supporting musicians, including David Jackson, the saxophonist for Van Der Graaf Generator. Here’s a list of everyone else who played on the album:

  • Alex Che (vocals, synthesizers)
  • Cliff Hewitt (drums, percussion)
  • René van Commenée (drums, percussion)
  • Ricardo Odriozola (violins)
  • Ben Keeling (electric guitar)
  • Martin Walker (electric guitar)
  • Brian Taylor (electric guitar and textures)
  • Noko 440 (viola and string arrangements)

The array of musicians should give you a hint of the variety found in their music, which bears elements of 1960s psychedelic rock (could be why they are on a label called Spaceward Records). Their sound expands beyond that, though, incorporating electronic, symphonic, jazz, and, of course, prog elements.

“Pip, Squeak and Wilfred 1” and “Pip, Squeak and Wilfred 2” are my favorite tracks on the album. They simultaneously have a strong Moody Blues influence and a huge Muse influence. The vocal effects on the song really bring in the Muse sound, reminding me a lot of “Exogenesis,” the three part symphony that ends Muse’s brilliant 2009 album, Resistance. The lyrics on these two tracks are short and simple, but they make you think.

Today I found my father’s medals in a drawer
And I thought of all the sacrifice,
All the sufferings of war

As you can see from the tracklisting, these songs are on the shorter side. They work together to form a cohesive sound, although the songs stand by themselves. “SHAVE!” is a strange track, being more a collection of various sounds and textures, which would be the psychedelic side of things. I suppose it reminds me a bit of the beginning of “The Waiting Room” off Genesis’ The Lamb Lies Down on Broadway. Speaking of Genesis, the inclusion of flute throughout Guano Junction reminds me a bit of them, although “Guano Junction 3” also has some Jethro Tull to it.

Classical guitar plays a fairly prominent role on the album. At times it reminds me of some of Steve Hackett’s more recent solo work. “Evergreen,” for instance, has that world and classical influence, although I hear some Muse-style sounds towards the end. The gentle and melancholic Spanish-style guitar on “Vista de Toledo” has a very warm and contemplative feel. Lyrically the track is a love song reflecting on lovers apart from each other. The melancholy in the music reflects those lyrics rather well.

“Dark Skies” has a sparse Floydian guitar solo that is played over simple plucked strings with vocal effects swirling around. It’s a simple way to frame a guitar solo, but it works in the context of The Gong Farmers’ music.

For me “Pip, Squeak and Wilfred” parts 1 and 2 are worth the price of admission. They stand out on the album with a compelling symphonic melody and atmospheric vocal effects that take you to another dimension. The flute playing in the background makes it that much better. If you listen to anything off this album, make it those two tracks. But do yourself a favor and check out the rest of the record while you’re at it. It has a compelling blend of psychedelic spaciness with symphonic overtones.

https://thegongfarmers.bandcamp.com/releases
https://www.gong-farmers.co.uk
https://www.facebook.com/GongFarmers/

Shining Pyramid’s Atmospheric Triumph

On By Bryan MoreyIn Ambient, Atmospheric rock, progressive rock, psychedelic rockLeave a comment

Shining Pyramid, Tree, December 29, 2020
Tracks: Transmitter C (9:18), Triskel (4:11), Campfire (3:03), Rain (4:58), Like Katriona (10:20), Weird Science (6:15), Joy? (5:32)

London’s Shining Pyramid released their third album back at the very end of December 2020. This follows 2015’s self-titled debut, loosely based on the 1895 Arthur Machen of the same name, and 2018’s Children of Stones. Their latest album, Tree, was my introduction to the band, as they generously sent me a CD to review. I was hooked from the opening electronic notes, which reminded me a little bit of Oak, who I seem to mention a lot around here. The duo is comprised of Nick Adams on guitars and Peter Jeal on keyboards. A page on their website offers a breakdown of the guitars and keyboards used on the album. I’m not a musician, but I found it interesting that Adams used such a wide array of guitars and basses on the record. They all sound wonderful.

Swirling synths set the stage on Tree, but the spacey guitar quickly steps into the spotlight, taking on a Floydian tone with a bit of the late Piotr Grudziński (Riverside) thrown in for good measure. It would be a mistake to describe this album as only ambient, or only atmospheric, electronic, or space rock. It contains elements of those things, but the guitar keeps the album rooted in rock territory, even if the album is on the sedate side of the rock spectrum. 

Shining Pyramid

Perhaps what I like most about Tree is the variety it contains, even though it’s only 44 minutes long. The opening track, “Transmitter C,” centers around a very spacey guitar with electronic synth sounds swirling around it. “Campfire” places an undistorted guitar seemingly just behind the bass in the mix, giving it a bit of a distant feel before the keyboards build and take the main spot in the mix. It isn’t particularly atmospheric. The next track, “Rain,” offers an ambient sound centered on a simple repeated piano refrain. That refrain, along with the bass, serves as a framework to support the varying synth sounds that keep the track interesting as it proceeds. Each track on the record sounds unique. They share common elements, but the band approach them in different ways. 

My favorite tracks are “Transmitter C” and “Like Katriona.” They’re both the longest songs on the album, allowing the music to build and grow. They also both feature a spacey Floydian guitar tone and appropriately proggy keyboards. These tracks sound the most musically focused and cohesive as well. A fun fact from their website: the ring of sound waves printed on the physical CD was taken from Adams’ guitar on “Like Katriona.” That’s a pretty cool little thing to throw into the physical product. 

I couldn’t help but feel a calming sense of peace when I listened to Tree with undivided attention. The music is calm and almost hypnotic at points. Frankly it was just what I needed. It gives you space to reflect, but it does so with interesting musical textures that make you want to return to it. For those into the atmospheric and ambient sides of prog, give Shining Pyramid a listen. They won’t disappoint. 

http://shiningpyramid.org
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Jarrod Gosling and Cecilia Fage

Album Review: Cobalt Chapel’s “Orange Synthetic”

On By Bryan MoreyIn progressive rock, psychedelic rockLeave a comment

Cobalt Chapel, Orange Synthetic, Klove Recordings, January 29, 2021
Tracks: In Company (4:27), The Sequel (3:49), Message To (3:18), A Father’s Lament (3:41), Our Angel Polygon (4:32), Cry A Spiral (4:53), It’s The End, The End (5:26), Pretty Mire, Be My Friend (4:04), E.B. (2:15), Orange Synthetic (6:21)

Yorkshire, UK, duo Cobalt Chapel recently released their second album, Orange Synthetic, and it’s a wonderful contemporary progressive take on the psychedelic music of the 1960s. It has fresh production values with lush textures and glowing vocals. So who are Cobalt Chapel? Cecilia Fage (from Matt Berry & The Maypoles) and Jarrod Gosling (from I Monster). Gosling also happens to make the album artwork for Tim Bowness‘ solo albums. 

Fage’s vocals are the clear centerpiece of the album, and her voice is absolutely stunning. It’s treated with some echoey effects that give it a choral feeling, which matches the aesthetic implied by the band’s name. The album sounds fantastic, with the vocals and music clear, clean, and distinct. The various organs and keyboards are the primary musical sounds, with their textures swirling around the listeners head as Fage sings in the center. The guitar, drums, and soft bass complete the psychedelic sound. You’ll be hard-pressed to find a better-sounding album out today. It is mixed very well with everything easy to pick out. Nothing is muddled. You can even make out the clicking of keys or buttons on whatever instrument Gosling is playing at the end of “A Father’s Lament.” There’s a slight hum in the background at that point which makes you feel like you’re in the room with him as he closes out the song. The whole record is really a pleasure to listen to.

There are folk elements to the music, with the album being influenced by Yorkshire itself. The song “E.B.” sounds the most folky, with instruments kept to a relative minimum and Fage’s voice carrying the brief track. Overall though the music retains a psychedelic vibe through heavy use of keyboards and organs, along with very 60s-sounding drums and guitars. The music is much more upbeat than the type of psychedelic music I’m more familiar with, though. It isn’t as spacey, although there are times when it sounds like they’re about to launch into the spacier side of this corner of rock music. They never quite get there all the way, except for on “Cry A Spiral,” which is the spaciest track on the record. Even on that song the ending is heavier and more lush-sounding, ending with a light touch of saxophone and various organs. Melody takes a central position on the album, which is perhaps what makes this album so appealing on repeated listens. You’re left feeling refreshed after listening to Orange Synthetic. 

If I had to make one complaint, it’s that I would have preferred some longer extended instrumental sections. The end of the first track, “In Company,” breaks into what sounds like it’s going to be a wonderfully psychedelic Floydian soundscape, but then it breaks off suddenly. The second track similarly fades out as it enters an instrumental passage. The third track does the same thing. It drops into the beginning of a 1960s-style psychedelic mood, yet it cuts off after a few brief seconds. At about 43 minutes in length, I think there’s room on the album for some longer musical exploration. They set the listener up for it, but they leave me longing for that instrumental space to breathe.

The title track, which ends the record, is the longest on the album at over six minutes, and it has a longer instrumental passage in the middle that feels much more natural for this kind of music. When Fage’s vocals kick in again after that passage, I’m left satisfied. In that regard the song is the perfect ending for the album. I just wish more of the songs on the album more generously balanced the instrumental side of this style of music with Fage’s beautiful vocals by having more extended musical passages. 

I highly recommend Cobalt Chapel’s sophomore album, Orange Synthetic. It’s a refreshing blend of upbeat psychedelic music with stunningly beautiful vocals presented with choral overtones. The music is accessible, yet complex enough to reward on repeated listens. Cobalt Chapel have masterfully brought the psychedelic sounds of a bygone era into fresh territory for a contemporary audience. 

Buy the album on CD, vinyl, or digital download, including signed copies of physical media: https://cobaltchapel.tmstor.es/#main_menu

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Lucid Planet

Metal Mondays: Lucid Planet’s “II”

On By Bryan MoreyIn progressive rock1 Comment

Lucid Planet, II, November 2020
Tracks: Anamnesis (12:25), Entrancement (5:33), Organic Hard Drive (9:39), Offer (4:15), On The Way (9:38), Digital Ritual (4:57), Face The Sun (11:49), Zenith (9:56)

Perhaps I’m going out on a limb in calling Lucid Planet’s new album “metal,” but I’ve always had a pretty broad understanding of what metal can include. For instance I’ve long considered much of Rush’s output to be metal. But be not deceived. Lucid Planet’s sophomore album, II, released five years after their debut, is not Dream Theater progressive metal. Rather they remind me of Tool in many ways, especially in the rhythm sections on “Anamnesis,” “Organic Hard Drive,” and “Zenith.” 

Maybe “heavy prog” is a better term. The Melbourne, Australia-based band uses the terms “progressive,” “tribal,” and “psychedelic” on their website, and those are all good descriptors for what they do. They travel in and out of various styles and influences seamlessly. No one track limits itself to any particular style. The primal elements are particularly strong on “Entrancement,” which creates a psychedelic atmosphere through droning vocals and simple acoustic instrumentation. The song is a bit unexpected after the first track, but it works well in expanding the horizon of what the band does. Right away we know that this group plans to cover a lot of ground. The female vocals in parts of that track add a pleasant touch to what would otherwise be a rather dark song. The primal elements mesh well with their album artwork as well. 

Continue reading “Metal Mondays: Lucid Planet’s “II”” →

Album Review – Garrett N. – “Let’s Get Surreal”

On By Bryan MoreyIn progressive rockLeave a comment

Garrett N., Let’s Get Surreal, 2018

Tracks: Overture (9:04), Avant (3:25), Avant3/Ahip1/Caine (4:47), Bak1 (4:16), The Eternal Laugh (14:20), Quiet (2:19), Saddam/Espace (7:25), Gorf (3:16), Reprise/Bak3/Unknown (10:08), Scorpio/Ramos (1:51), Sinister (1:58), Avant4-Outtro-Epilogue (9:33)

Webster’s Dictionary defines “surreal” as an adjective meaning “marked by the intense irrational reality of a dream.” In other words, something so bizarre that it shouldn’t be real, yet it is. This may be the most accurate name for an album I’ve ever encountered.

Composer, musician, engineer, and producer Garrett N. has a background making music for commercials, films, and documentaries, in addition to a few of his own progressive albums. That background helps explain the non-traditional nature of this album. Garrett performed all the music on the album, displaying wide musical talents. He also sings on the few tracks that have lyrics.

Let’s Get Surreal is extremely synth-heavy in a Pink Floyd sort of way. I’d say Floyd is the biggest rock/psychedelic influence here, and at times it works very well. The first four tracks in particular are quite strong in this regard. There is a sci-fi cinematic feel to some of the synths sounds too, in a sort of 1950s alien sci-fi movie way. With that said, the slightly distorted acoustic guitar on “The Eternal Laugh” is a welcome addition. The next track, “Quiet,” features what sounds like extremely distorted electric guitar… maybe too distorted. Definitely a gritty sound. The blending of different types of synths, drums, and guitars manages to work, however. The bit of flute on “Scorpio/Ramos” is nice, although the song could have used a lot more of it.

Garrett appears to making a bit of a political statement on a few tracks, particularly on “Saddam/Espace.” This song has a remix of former US President George W. Bush giving a speech about Saddam Hussein and all that mess. It is an interesting reworking of the speech, with blurred repetition of Bush saying “terror” playing through the background. The album was recorded between 2013-2017, so this track seems like it is 10-15 years past when it should have been released. That particular moment has passed, making this song lose a lot of its punch.

At an hour and thirteen minutes in length, the album kind of drags a bit because a lot of it sounds the same. There are a few songs that could have had a few minutes trimmed out. The album is at its best when other instruments are mixed in with the synths, rather than the lengthy sections that are only synthesizers.

Ultimately, this album sounds more like a tv show soundtrack than it does a rock album. It is mostly instrumental, with synths dominating the instruments being used. As such, it doesn’t sound like a typical instrumental prog album. There’s nothing inherently wrong with that, but it does feel like we are missing a piece of the puzzle. “Let’s Get Surreal” won’t be for everyone, but those into the more psychedelic side of prog should appreciate it.

http://galaxian1.com/index/

https://store.cdbaby.com/cd/garrettn7

Bank Holiday Beats

On By James R TurnerIn electronic, Prog, Progarchy, progressive rock, psychedelic rockLeave a comment

paperweight

Every genre has a holy trinity, for prog it’s Yes, King Crimson and Pink Floyd, metal is Led Zep, Deep Purple, Black Sabbath, NWOBH is Iron Maiden, Saxon, Def Leppard, neo prog has IQ, Marillion and Pallas and now Rushdenbeat has it’s trinity, you have the Fierce and the Dead, Orange Clocks and now presenting their debut EP, The Paperweight Array, the third leg to the mighty sound that is Rushdenbeat, which is, to my mind the defining sound of 2017.

After my review for Progarchy about Orange Clocks, I inadvertently coined the phrase ‘Rushdenbeat’ and suddenly it took a life of it’s own on, with a Facebook group and a # as well!

Following this Aaron Hemmington got in touch and sent me a copy of the bands debut EP Transmissions from a Distant Star, a three-track introduction to their psychedelic world.

For those who aren’t aware Rushden (as per our good friend Professor Wikipedia) is part of the county of Northamptonshire, and was home to such luminaries as H E Bates, darts player James Richardson, and of course (although Wikipedia needs updating) Matt Stevens.

What is it about small English towns that can be the epicentre of something new and exciting?

I grew up in Rotherham, where the best thing going for it was the road to Sheffield where all the decent record stores were, and yet from 1991 onwards Rotherham had been home to the Classic Rock Society, and a Northern pulse for progressive rock, handy if you happened to be 17, into prog and on a bus route into town!

It seems as Matt Stevens himself has questioned on Facebook, that pre-internet, when you were in a small town, certain things either passed you by, or you found yourself in a particular group of friends where certain locations and musical tastes influenced you.

I remember saving all my money from my summer job for a trip down to London because the record stores there would have far more rare and esoteric albums, and I wasn’t able to just log in using my smart phone, search them and then buy them.

I think the mid 90’s were the golden days of record collecting, where finding music was much more of a hunt, more of a chase, and you appreciated listening to it more because you had put so much more effort into it.

That is the same with bands from smaller towns, Rushden I would imagine, like Rotherham would be bypassed by all the big names, and so if you wanted to hear the music you liked, then the only way to do it would be to form a band and play it yourself.

That is the ethos that runs through Rushdenbeat and so many other small town bands making a big noise.

Transmissions from a Distant Star, starts with the title track, some fantastic spiky guitar work and then a wonderfully spacey chorus that brings to mind a whole mix of sounds, there’s elements of XTC, some Canterbury scene and a whole summer of ’67 vibe carrying through the sound.

A perfect way to introduce yourself and it makes a massive impact as you listen to it.

Going Back, showcases how the band works with each other, the Paperweight Array being an old school power trio, with Aaron on guitar, vocals and keys, Just on bass and keys and Dunc on drums and percussion.

Listening to the mighty sound they make you wouldn’t think there were only three of them!

Again there is a lot of power in the riffs and the interplay between all three of them is one of the EP’s strengths, you can tell these guys know how to play, and more importantly know how to play with each other to bring the best out of them.

Corporal Cameo is a neo gothic old school psychedelic story, with some fantastic lyrics, and some wonderfully trippy keyboard sounds, and another one of those brilliant guitar riffs.

Listening to their sound and performance on this one, and you’d think Corporal Cameo was a lost 60’s psych classic that Stuart Maconie had dug up for his Freak Zone on BBC Radio 6.

This is a fantastic introduction to where the band are coming from, and it has to be said encapsulates in the most positive way the small town atmosphere that has led to the creation of some of the most exciting music in the UK, and indeed probably throughout the world. Whilst it’s wonderful in this digital all connected age to be able to see beyond your horizons at the touch of a button, I wonder how much of an impact that will make on all the small town musicians sat in their bedrooms, using music as an escape?

Transmissions from a Distant Star is available here

https://thepaperweightarray.bandcamp.com/releases

 

 

 

Astra! Great News–A Third Album Forthcoming

On By bradbirzerIn progressive rock2 Comments

Astra posted this seven hours ago on social media.  Excellent news!  The first two albums are simply outstanding.  Great psychedelic prog.  The “Prisoner” ending is a little spooky, however!

astra update

First off, I have to apologize for just dropping off the map for so long. You all deserve much more than that and since so many of you have been nice enough to write and ask “What’s going on with ASTRA?” I wanted to give you all a status update.

Back when our drummer David Hurley left ASTRA in 2013, no one could really foresee the difficulties ahead. We knew carrying on without Dave would be a hard road to travel but we had no idea just how much of an impact his departure would have on us. The 5 of us had an undeniable chemistry that just worked so well in every aspect, but especially when it came to songwriting. After Dave left, I think we were all pretty bummed out and while we were working on writing material for our 3rd album, our frustrations slowly started cropping up. We decided to take a short break which turned into a long break, which turned into a longer break, which happens to be where we’re at now. Because of this long hiatus some of the guys have become extremely busy with their own musical projects which, unfortunately, now leaves very little time for ASTRA.

However, I do have some good news! I just recently spoke with all of the original ASTRA members, including Dave, and everyone is down to record a 3rd ASTRA album if we can get enough material together. Another bit of good news is that Stuart and I have been playing and writing together and we’re hoping that we can eventually make this 3rd album a reality.

Now, none of this is a guarantee but I think it is a step in the right direction. ASTRA will always be my baby and my first love when it comes to music and I don’t want to give up on her so I’m going to do all that I can to make this happen. This will most likely take quite some time since everyone is so busy but I will try to keep you all updated as best I can. I will also try to be much more diligent in responding to your emails and messages in the future.

Lastly, a huge THANK YOU is long overdue, so, thank you all for sticking with ASTRA through the years and for being such amazing fans. I love you all more than words can say and I’m going to do my best to bring some new ASTRA music to your ears as soon as possible.

Be seeing you,
-Richard Vaughan

Strange Hobby: Lucassen 20 Years Later

On By bradbirzerIn progressive rockLeave a comment

arjen-anthony-lucassen
1996; Remastered and Rereleased, 2016

A little over twenty years ago, Arjen Anthony Lucassen anonymously released an album named, STRANGE HOBBY.  The artist spot on the CD was left as a “?”  A love letter to the psychedelic-pop era of music, 1965-1970, STRANGE HOBBY was recorded in Abbey Road studio and contained a total of eighteen covers.

It came out at roughly the same time that his ACTUAL FANTASY did.  A totally different style, though, one that allows the perfectionist to let loose.

Continue reading “Strange Hobby: Lucassen 20 Years Later” →

Taking Stock: Talk Talk 25 Years Later

On By bradbirzerIn progressive rock1 Comment

A personal journey, Part I.

Twenty-five years ago this fall, progarchist editor Craig Breaden and I were in Waterloo Records, Austin, Texas.  There it was on the shelves—the final Talk Talk album, LAUGHING STOCK, in all of its James Marsh-esque glory.  Of course, I purchased it as quickly as possible.  After all, it had just come out, and Craig and I were living in pre-internet days in northern Utah.  We had a music store nearby, but however good it was—and, frankly, it was pretty good—it wouldn’t have dreamt of carrying anything by a band so strange as Talk Talk.

laughing stock
Talk Talk’s last album, 1991.  A masterpiece at every level and in every way.  Arguably the single greatest album of the rock era.

So fortunate we were at a history conference in Texas at the same moment as LAUGHING STOCK’s release.

Craig and I were not only officemates and apartment mates, but we were best friends and music mates.  How many hours flew by with Craig and I devouring music—old and new—and then discussing and analyzing every bit of it.  I still cherish these nights and even weekend-days as some of the best of my life.  Though I’d grown up in a house that respected nearly every form of music, I had never been introduced to some of the great psychedelic and experimental rock acts of the late 1960s and early 1970s.  Unless it was by Yes, Genesis, or Jethro Tull, I really didn’t know it.  Craig played Procol Harum, Soft Machine, Spooky Tooth, and Traffic for me.  I fell in love with each.  As the time Craig and I (and another close friend, Joel) were spending so much time together, the music scene itself was going through a bit of a psychedelic revival—with World Party, Charlatans, and others—and this only added to our excitement.

As soon as we returned from Austin, I recorded the full album of LAUGHING STOCK on each side of a double-sided TDK cassette and enthusiastically played this tape over and over and over and over. . . . Even though Craig and I had shared many enthusiasms with each other, this obsession with Talk Talk seemed more than a bit too enthusiastic to Craig.

Understandably so.

By sheer force of will, I fear, Craig had to accept this or our friendship would suffer!  Of course, here we are, a quarter of a century later, still very close friends and co-editors of progarchy. . . . You know the story ended well.

For nearly thirty years, I instantly answered the question of “what is your favorite band” with Talk Talk and Rush.  If pushed a bit more, I would add Tears for Fears and, depending on my mood, Genesis or Yes or XTC.  This rote answer became almost proudly knee-jerk on my part.

When challenged about this opinion, I rather haughtily pointed to THE COLOUR OF SPRING, SPIRIT OF EDEN, and LAUGHING STOCK.  After all, who could top fourteen months a shot, recording in dark, deserted churches, challenging every single bit of corporate conformity in the music business.

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Mark Hollis, 1986.  At the very edge of Valhalla.

Mark Hollis, Tim-Friese-Green, and Phill Brown were not just three more musicians in the industry, they lingered as demi-gods at the very edge of Valhalla itself, ready to release Ragnoräk at any moment.  And, power to them!  As far as I was concerned, the music industry needed and deserved a revolution.

Recently, I’ve realized that Talk Talk no longer holds top spot in my mind when it comes to bands (Big Big Train has finally replaced Talk Talk in my mind and in my soul), but it will always be in the top three for me.  For too many years, Talk Talk was my go-to band, my comfort and my first love in the world of music.  To this day—and, I presume, to the end of my days—the final three albums the band made will always be the three by which I judge every other release in the music world.  Few albums or bands, then or now, can measure up to such heights.  But, such is my mind and soul.

Part II to come soon. . . .  In the meantime, enjoy 19 minutes of Hollis talking about LAUGHING STOCK.