Prognosis - "Volume 1: Ghost" EP (Review)

By: Ant Zant

Album Type: EP

Date Released: 03/08/2016

Label: Independent

“Volume 1: Ghost “CD//DD track listing

1). The Sycophant

2). From this Horror

3). So Long

The Review:

Prognosis has been on the Manchester music scene for a little over a year now, pushing their self penned progressive metal to all that care to listen. Therefore a release from them hardly comes as a surprise, rather like drinking a pint of Hobgoblin, getting to the bottom of it is a guaranteed certainty!  Prognosis are tackling their releases a little differently to most bands. It is going to be a series of EP’s over the coming year or so which, according to guitarist Phil Weller, will make up their first album.

Onto this, their grand debut and the first thing that struck me upon removing the wrapper was the “new CD smell”, something that is missing from many other CD releases or maybe it is just me that is a tad kinky and gets off on stuff like this.

The high quality card gatefold packaging has a fabulous piece of artwork on the cover and if the series continues in this vein they are sure to become collectors items.  “The Sycophant” opens proceedings and is classic prog-metal with a light orchestral flavour and a sprinkling of acoustic guitar before indulging us with some serious riffage that wraps around your head in this extended piece; quite an individual piece and is already the highlight of their live set.

The second track, “From This Horror”, to my ears comes across as a mix of Iron Maiden and Metallica riffage and the final track, “So Long”, is probably the most accessible and commercial of the three on the EP with some Thin Lizzy style twin lead breaks. Both these songs are more metal than progressive but certainly show where the bands influences have come from.  Interestingly, this release has a very dry sound to it which harks back to the early 80’s and the NWOBHM movement, it is raw and basic but all the elements are there.

If this release is anything to go by the future will progress well for Prognosis – roll on EP number 2!

“Volume 1: Ghost” is available here

Band info: Facebook || Bandcamp

Our Oceans - "Our Oceans" (Album Review)

By: Anthony Firmin

Album Type: Full Length

Date Released: 15/11/2015

Label: Independent

Overall, this is a prog album on another level altogether, the songs sweep and soar like a warm breeze on a summer day making you glow and feel wonderful inside.  Every song is perfect in its own way.

“Our Oceans” CD//DD track listing:

1. What If
2. Tangled
3. Precarious
4. Lioness' Sunrise
5. Am I Still Here?
6. lluminate
7. Turquoise
8. Let Me
9. Reawaken

The Review:

Every so often an album hits you and makes you think “is this the perfect album?”  Our Oceans may well have produced that perfect album.

Netherlands based, the band was started by singer and guitarist Tymon Kruidenier along with two of his Exivious colleagues, Michel Nienhuis and Robin Zielhorst.  Providing the beat is Jasper Barendregt from black/prog metallers Dodecahedron whom Michel and Robin are also involved in.  And this album is nothing like Dodecahedron, nothing at all.

What is most striking about the album is the feeling of space each song has.  The music is like the oceans, it ebbs and flows wonderfully with Tymon’s vocals surfing above sounding eerily like Jeff Buckley.  Everything is subtle.  Everything is considered.  From the drum sound, gently adding the backbone to the songs; the dreamy fretless bass from Robin which immediately reminds one of Japan’s late bassist Mick Karn and that twists around the guitar and drums.  The sounds achieved are remarkable even making a guitar sound like a piano.

The music though soothing and warming as it is, is in complete contrast to the lyrics on the album.   The songs themselves are a mix of loss, self-questioning, wondering, pain and reflection, as Tymon searches his soul and questions the eternal question of life.  The lyrics are pure poerty, simple but sung slowly and soulfully.

Overall, this is a prog album on another level altogether.  As the songs sweep and soar like a warm breeze on a summer day making you glow and feel wonderful inside.  Every song is perfect in its own way.

“Our Oceans” is available here

Band info: official | facecbook

Live Review: Glenn Hughes/Jared James Nichols @ Club Academy, Manchester, 29/10/15

By: AntZant

Photos: Anthony Firmin

Glenn Hughes, the Voice of Rock, returned to Manchester as part of his longest tour for 40 years with a total of 11 weeks on the road.  In Europe he is taking around Jared James Nichols as his support act and for 35 minutes or so we are presented with what is described as the new guitar playing laureate within the current resurgence of classic rock and blues.  His image is all long hair and shiny white teeth – almost looking like a Ted Nugent for 2015.  But his music isn’t really individual enough to cut it at that level unlike that of his contemporaries such as Gary Clark Jnr.  Finally there was no need to pepper his set with covers; playing “Mississippi Queen” really doesn’t do him any favours.  Sadly he is 30 years too late to the table for the image and music he presents.

 

Glenn Hughes is one of those people who is always around, part of the classic rock furniture and a friend and brother to absolutely everyone in the music business. I have seen Hughes a few times with Black Country Communion and California Breed as well as a solo acoustic performance at the Band On The Wall, and he had always been excellent…but this gig was to be a whole different kettle of fish!!

And then there was Mr Hughes, claiming to have released 85 albums and name-checking all the people he has worked with just to remind everyone how important he is and how he is everyone’s brother, massaging his own ego in the confines of Manchester’s Club Academy. Much of the set was uninspired, “First Step Of Love” from his time in Hughes/Thrall was interesting to hear as were his solo songs like “Orion” but “Soul Mover” failed to move me.

 

Raiding the Deep Purple song chest, “Sail Away” was barely passable but “Mistreated” was beyond awful, Hughes warbling and meandering vocals were totally unnecessary.  And I wasn’t alone in thinking this, a steady stream of people were leaving with about a third of the audience gone by the end of that song and it wasn’t even time for the encore!  He even managed to upend “One Last Soul” and “Black Country” from his time with the ‘Communion – Joe Bonamassa won’t lose any sleep over Aldrich failing to play anywhere near his capabilities.

And if “Mistreated” was bad, “Burn” was worse.  It was beyond appalling.  It was crucified.  Dysentery would have been a more pleasant experience.  Ritchie Blackmore would have had his tights in a knot, running to the nearest castle and pulling up the drawbridge to distance himself from Hughes!!  It was THAT bad.

By this point I was just glad it was over, I simply couldn’t have taken any more.  The voice of rock?  Sadly no longer Glenn Hughes crown to wear.

Live Review: Leprous/Rendevous Point/Sphere @ Ruby Lounge, Manchester, 14/10/15

By: Anthony Firmin

With so many excellent progressive rock/metal bands around it is hard to keep track and LEPROUS, I must confess, had slipped under my radar.  With the Sludgelords prompting I was pointed in the direction of the Norwegian’s outstanding new release (even though the reviewer on this website had clearly not listened to it) and after further prompting was “asked” to review their show in Manchester.  An added bonus was that this was going to be a full night of Norwegian progressive metal…with varying degrees of epicness!

An interview with LEPROUS’s singer Einar Solberg was arranged which precluded me seeing most of RENDEZVOUS POINT’s set.  I did however catch their last song which was in excess of 10 minutes which I believe was ‘The World Goes On’.  Although musically in the same universe as Leprous, and the band sharing drummer Baard Kolstad, their music is suitably epic although a little lighter to my ears.  Gunn-Hilde Erstad’s bass entwining perfectly with the drums, although Nicolay Tangen Svennaes keyboards were lost in the mix at times.  Their new album ‘Solar Storm’ has got to be required listening for anyone keen on this genre.

Next up were SPHERE who to me were more metal than progressive and not really my cup of tea, to be honest.  The band had masses of energy and some serious riffing was undertaken which was appreciated by a good proportion of the crowd, the bass players red illuminated instrument looked rather cool cutting through the blue and green lights.  On the other side of the coin, as a photographer I really did enjoy shooting them as they had a very dynamic lead singer in Isak Haugen.  They are currently promoting the release of the remastered album ‘Primordal’.

Finally it was LEPROUS and what can only be described as an interestingly choreographed presentation with 4 very large TV screens at the back of the cramped stage.  The videos played were similar in style to those shown by Porcupine Tree and Pink Floyd at their gigs and it matched Leprous’s music well.  This was coupled with a lightshow that had been carefully thought out, supplementing the house lights with their own, altogether making this a show not to be missed.  Even the barman, who saw them during the soundcheck, was seriously impressed and couldn’t wait for the show.

And what a performance it was!  Musically it was spot on and any complaints about the new album being a bit lightweight on the guitar front went out the window.  Live, the songs from ‘The Congregation’ had more teeth right from the starting song ‘The Flood’ and moving through to ‘Third Law’.  As expected the majority of the set was made up of tracks from the new album. From the previous album ‘Coal’ were ‘Foe’, ‘Chronic’ and ‘The Cloak’ to balance things up.  ‘Acquired Taste’ from 2011’s ‘Bilateral’ was the only really old track so they are certainly pushing the new direction they are heading in. 

Einar Solberg’s vocals cut through the dry ice perfectly and Baard Kolstad proving he is a superhuman drummer performing his second gig of the evening although everyone in the band played superbly.  A duo of new songs, ‘Red’ and ‘Slave’ closed out a hugely impressive and musically well balanced set with the encore seeing a trio of new songs – ‘The Price’, ‘Moon’ and ‘Down’ - all being soaked up by the highly appreciative crowd before finishing with ‘The Valley’ from ‘Coal’.

Personally I don’t think I have ever seen such an impressive show combined with such a professional performance in a venue of this size.  This was definitely one of those “you had to be there” gigs.

Live Review: King Crimson @ Lowry Theatre, Salford, 11th September 2015

By: Anthony Firmin

The Review

By 22:30 I was back home, tucked up in bed with a hot chocolate and with the cat at my side, so what went wrong?  Well, nothing…

When Robert Fripp announced back in September 2013 that King Crimson were to reform, after an enforced hiatus of 6 years, thousands of Prog heads worldwide became very, very excited.   Other than a few tantilising videos nothing more was really head from them until 2014 when they toured the USA playing a selection of old and new material.  Fast forward to September 2015 and a UK tour is underway including even more old material which has been “reconfigured” along with a slightly differing set list every evening – the archetypal King Crimson fan’s wet dream.

Ten of the 18 pieces played were from the 70’s with the 80’s completely ignored which was a shame because the drum/rhythm led work from that period would have slotted in nicely.  From the opening piece, Lark’s Tongue In Aspic, through to the set closer, Starless, we were treated to a journey through the past and a glimpse into the future.  That future being more jazz/dissonant oriented which received polite applause, the older audience reserving their energy for the older classics. 

The way the stage was set up was with the three drummers (Pat Masteletto, Bill Rieflin and Gavin Harrison) at the front and on a riser at the back were on sax/flute Mel Collins, bass/stick/cello Tony Levin, guitar/vocals Jakko Jakszyk and finally on guitar/frippertronics Robert Fripp.  This gives a feeling of unease, and the drum sound was unbalanced to an extent, presumably on purpose.

Fripp remained seated the whole show, hardly acknowledging that there was even an audience in attendance.  He was simply sat looking at his iPad and wearing headphones whilst playing guitar, in his own solitary Crimson world.  However, his playing although sometimes lost in the mix was sublime.  The rest of the band were all faultless, they are all seasoned world-class musicians after-all.   Jakszyk’s vocals were less than ideal with him having to copy Greg Lake and John Wetton; he tried, bless him, and his vocals were fine in their own way but he lacked the depth and power of those particularly on Easy Money and Epitaph.  The double retro encore of In The Court Of The Crimson King and 21^st Century Schizoid Man saw the audience at their most appreciative as the band were perfect but again vocally Jakszyk lacked Lakes passion and drive whilst delivering the classic lyrics “Cat’s foot, iron claw, neurosurgeons scream for more, at paranoia’s poison door, twenty-first century schizoid man” – they should have stabbed me through the heart, they merely patted me on the shoulder!

Overall an interesting experience that, if rumours on the internet are true, may never be repeated; we will wait and see.  Musically travelling from psychedelic rock anthems and classic Prog rock to jazz the only real bummer was when the house lights in the Lowry were on at 21:45 hence the early night.  At least the cat was happy to see me even if I was singing “Cat’s foot, iron claw…”!

           

Set list:

Larks’ Tongues In Aspic (Part I)

Pictures Of A City

Radical Action (To Unseat The Hold Of Monkey Mind)

Meltdown

Hell Hounds Of Krim

The ConstruKction Of Light

Level Five

Banshee Legs Bell Hassle

Easy Money

Epitaph

Interlude

The Letters

Sailor’s Tale

One More Red Nightmare

Starless

Devil Dogs Of Tessellation Row

Court Of The Crimson King

21st Century Schizoid Man



Live Review: RanestRane / Steve Rothery. Band On The Wall, Manchester, UK. 6/11/14

“I used to be a Marillion fan.”  There, I’ve said it.  I loved the early 80’s Marillion with which Steve Rothery was a founder member and with whom he is still the guitarist.  I never really got to grips with the Steve Hogarth era, preferring the cutting dynamic of the Fish led band.  But I am not here to reminisce, although I did later on.

  

Opening were Italian proggers RanestRane, delivering their cinematic prog-rock experience “A Space Odyssey”.  Inspired by the film “2001: A Space Odyssey”, which drummer Daniele Pomo describes as “the most important film ever made”, they proceeded over the next 45 minutes to perform this, with projections from the film, all timed to perfection.   This does give the film a new direction although I have to admit I found myself concentrating on the projection and not the music.  A consequence of which has made me want to watch the film again, probably not what RanestRane were hoping for. 

 

During the break the guy next to me starts talking:  “I’ve seen Marillion 12 times, they are fantastic and I don’t care what other people say.”  He obviously saw me making notes, was I wasting my time reviewing the gig?  The guy next to him says “I’ve seen them 21 times.” He is wearing a Marillion Fan Convention t-shirt.  I look around and many of the crowd are wearing similar t-shirts from different conventions.  It’s a strange crowd: Marillion-spotters and anoraks.  Fortunately the break is short.

For those who are unaware of Steve Rothery, he is hailed as a master guitarist.  Not for Yngwie/Vai speed but for the warmth and tone in his playing, in a similar vein to David Gilmour of Pink Floyd to whom he is often compared.  The first half of Rothery’s set is a performance of his first solo studio album, “The Ghosts Of Pripyat”, interestingly a crowdfunded project.  Rothery had previously been asked by record companies in the 80’s and 90’s to record one but there had always been the clash with his day job in Marillion.

 

These were beautifully balanced pieces of music, carefully crafted and executed.  So different to Marillion in some ways, but comfortably familiar in others.  The stand outs were “Old Man of the Sea” and the poignant “Yesterdays Hero” although there wasn’t a bad moment in this part of the set.

Another short break and the band returned for the second half of Rothery’s performance of older Marillion songs.  His choices based on his favourite guitar solos, much to the delight of most of the crowd who yearn to hear these older songs.  The band is now supplemented with singer Martin Jakubski, from tribute band StillMarillion, who uncannily sounds just like Fish.  A Marillion anoraks wet dream? Quite possibly.

I had escaped the talker and moved next to the mixing desk, having photographed the band during the first three songs.  In front of me was someone ‘dad dancing’ and showing off to his mate that he knew every word to every song.  Sing-a-long Marillion perhaps?

“Cinderella Search” started well, Jakubski handling his Fish vocals perfectly.  But, being able to adapt to the Steve Hogarth era song “Afraid Of Sunlight” was a surprise and was probably the best performance by Rothery and his band, turning it into a powerful masterpiece and ended up being my favourite song of the evening.  “Incubus” was thankfully without the embarrassing Fish polaroid introduction but the dad-dancer became visibly over excited whilst singing along “…Nursing an erection, a misplaced reaction…”.  Some people need to get out more, or was I now suffering from Marillion-fan-aphobia?   I decided to move again.

“Chelsea Monday” was its usual mournful self and left me reminiscing of pre-record contract Marillion, who I saw many times, Jakubski once again nailing the vocals.  I had to pinch myself during “Fugazi”, again the vocals so Fish-like.   Rothery’s guitar remained masterful but adaptable to ensure the solos were not direct copies of the originals but still fitting in perfectly.  Although a Steve Rothery gig, the empashis was most definitely on the band as a whole to deliver these sterling performances, Rothery quietly getting on with his subtle guitar playing.

The encore of “Lavender/Heart Of Lothian” was a more relaxed yet buoyant affair, a fine way to end the gig.  I left bang on the last note in fear of an onslaught from some of the crowd, wanting to force a convention t-shirt in my direction!

Words by: Anthony Firmin