Bobby Sant: My Dead Town (2013)

Sometime in 2009 Swedish composer and musician Bobby SANT started his career as a recording artist. An initial spell of disillusion resulting in a number of songs written, and later an album deal with Transubstans Records who released Sant's debut album on their Sakuntala sublabel in 2012. Just one year later Sant returns with his sophomore production "My Dead Town", issued on the same label as his debut album.

Bobby Sant explores a musical tradition that has a long, solid history behind it: One man, one instrument, and lyrics that tends to revolve around the more challenging aspects of life. He states Townes van Zandt as an influence himself, but this sparsely arranged kind of singer/songwriter material can most likely be extended back in time to the likes of Woody Guthrie as well, and probably others before him again. Sant's take on this has more of a foundation in country however, and one might arguably state that his material isn't that far removed from Americana either.

The main instrument on this album is Sant's voice. Gentle acoustic guitar is something of a permanent feature, delicate piano notes almost as important as a supplemental detail mostly but also on a few standalone occasions. A frail, slow mood-based violin detail more of an infrequent but effective feature, as are a supplemental female vocalist. These are merely supplemental details though, as this is an album about the vocals first and foremost.

Sant has a powerful voice. Even when finely controlled it is the dominating factor, and personally I found his material most intriguing when the lyrical topics are ones closer to misery than joy, combined with Sant utilizing the higher reaches of his register in a certain manner: Using vibrato and cutting of the final parts or resonances of a word short. The combination of tone and this specific delivery that makes the lead vocals sound as powerful and massive as concrete, yet as frail and delicate ac Chinese porcelain, at least to my ears. The sound of someone looking down a bottomless ravine of despair, trying to convert the mental anguish into vocal beauty while falling - if that allegory makes any sense at all. The sparse, gentle instrumentation emphasizing the frail nature of the landscapes explored.

If you tend to enjoy high quality vocals by default, then Sant's second album should be well worth a visit. But if you have a special interest in sparse singer/songwriter material, roots music and country this album should appeal strongly also on a musical level. And if you can subscribe to all of the above, "My Dead Town" represents just over half an hour of music that should provide you with high quality entertainment through and through.

My rating: 90/100

Moving to "The House of Prog"

For the forseeable future, this blog will be on hiatus. My new haunt for reviews I write that isn't published by the progressor website will be The House of Prog.

I'll keep the contents of this blog available however, and keep it as a fallback just in case I might need it in the future.

Bult - Amidst the Throng (2011)

Swedish band BULT have been around in one shape or another for more than a decade now according to their Facebook information page, but it's only in the last few years they have decided to become recording artists as well as a performing band. So far this has resulted in a plit album release with Iamus in 2010 and two EPs released in 2009 and 2011 respectively. "Amidst the Throng" is the most recent of these, and was issued by Swedish label HoboRec.

Quite a lot have happened in the world of metal music ever since I grew up listening to and following the careers of bands like Iron Maiden and Metallica in my early teens and the initial evolution of what was coined extreme metal bands shortly after. Of which some fascinated me more than others back then, although I fairly soon got a stronger taste for progressive rock and metal rather than the more intense varieties of metal that started to grow popular towards the end of my teenage years.

Bult is a band that appears to seek to blend extreme metal with progressive metal. They employ guttural, hoarse shouted vocals, dark and intense in a manner fans of old school black metal and death metal will recognize, although not quite as extreme in it's expression. An intense detail that is quite suitable for the intense music it's a part of, where dark, grinding riff barrages and hammering drum patterns dominates the proceedings with an undercurrent of brutal bass guitar.

The progressive aspect of these proceedings comes due to variation. There are alterations in pace as well as intensity, albeit at times of a fairly subtle nature, and the guitar riffs aren't merely stuck in machinegun mode either. Quirky fluctuating riff patterns and melodic overlays all have their place here, although in an extreme variety, and occasionally the tempo will be slow enough to enable the listener to hear that, yes indeed, this is actually music that can be traced back to the great grandfathers known as Black Sabbath for initial origins. "Amidst The Throng" is an EP that is rather far removed from these origins of metal admittedly, but the avid listener should be able to pick up a nod or two in that direction before this 4 track EP concludes.

Dark, intense and brutal metal is what Bult provides, and a fairly intricate and sophisticated variety of it as well. I'm not well enough versed in contemporary metal to suggest a possible target audience for this band myself, but I guess the bands stated influences should be a decent indicator: Between the Buried and Me, Botch, Burst, Mastodon, Meshuggah, Textures. This EP is available on Spotify, and I'd suggest the curious to start listening to final track In The Image of God for initial inspection. This is where Bult is at their finest in my opinion, arguably the most diverse and sophisticated of the compositions on this EP.

My rating: 80/100
Track list:
1. Overtly Powerless
2. Point of No Return
3. The End
4. In the Image of God

The Minstrel's Ghost - The Road to Avalon (2012)

US project THE MINSTREL'S GHOST is the creative vehicle of composer and musician Blake Carpenter. He released his first album under this moniker in 2011, and towards the end of 2012 "The Road to Avalon" was released through Melodic Revolution Records.

Those familiar with Carpenter and his musical background will know that this most recent production actually was planned as the debut. But for one reason or another that didn't happen, and by the time the material was ready for recording Carpenter had more or less by luck and chance managed to assemble many a skilled knight to help out with the proceedings. The artwork has been handled by Ed Unitsky, and the instrumental roles not handled by Carpenter himself is catered for by an international crew of fellow musicians. The best known of these arguably Zoltan Csorsz of The Flower Kings fame.

The end result, following a birth that have taken just about 10 years if I remember correctly, are two suites each clocking in at about 30 minutes in length, both of them subdivided into six chapters.  And for the more impatient listeners, the main parts from both of these fairly elaborate sets have been assembled in a single track clocking in at a mere 15 minutes. This latter piece credited as a bonus track for rather obvious reasons.

The music itself is of a kind that should find favor with those who enjoy the more mainstream oriented material by the likes of Pink Floyd and Eloy, the latter part of the 70's material from the former and the early 80's productions by the latter. Layered, gentle keyboards with quite a few nods in the direction of vintage symphonic progressive rock are mainstays throughout, supplemented by acoustic guitars first and foremost, but with frequent use of electric guitar as well. The latter partially supplying darker toned contrasting details in the arrangements and partially for lighter toned effects and soloing duties. Those expecting atmospheric laden guitar soloing David Gilmour style will be disappointed however, as axeman Colin Tench appears to draw his inspirations from a rather different direction, at least on this album. His delicate, haunting guitar solo style is one I've heard before however, but it took me quite some soul searching to finally conclude with where I've heard a similar sound before: On UK band Demon's 1989 disc "Taking the World By Storm". Which most likely is an accidental similarity.

One should also note that the use of instrumental contrasts on "The Road to Avalon" is a delicate one. Counterpoints and stark differences aren't elevated to any limelight position, instead they exist as subtle undercurrents, details for the intent listener to uncover and enjoy. The soundscapes are generally silken smooth as a matter of fact, and mix and production have been applied with care to produce a warm and organic mood and atmosphere. Compelling if you like, and in a manner that should give this album a wide appeal. Another aspect that should see this album gain interest from more than a marginal crowd is the compositional structure itself. The individual chapters of both suites as well as the suites as a whole doesn't follow the common progressive rock formula of constantly altering between myriads of themes and the themes themselves are of a fairly accessible nature. Whereas instrument arrangements and the multiple part suite construction are more closely related to progressive rock, the structure of the individual pieces and instrumental motifs are more closely related to mainstream oriented rock. And while I personally found the more sophisticated bass and drum arrangement on Camelot (named Camlot on the CD cover art for fits and giggles) to elevate this piece to a slightly higher plane than the rest, this is one of those details that comes down to individual taste more than anything.

But I'll also have to chime in with a few negative remarks. The theatrical inserts that appear now and then. Why? Casting Gollum in the role of Morgana la Fey was an inspired choice perhaps, but apart from that very vocal invite to jest I'll advice both Blake and others who want to spice up an album with inserts of this kind to find some decent voice actors to cater for conceptual flavoring of that nature, and to think long and hard about whether or not they are actually needed. Employing someone with playwright experience to cater for the actual dialogue should also come in handy. These theatrical features are kept to a minimum on this disc, thankfully, but at least from my perspective the odds are greater for such additions to be of a detrimental rather than the opposite.

A few small sour grapes aside I do find "The Road to Avalon" to be a CD well worth recommending. I'd imagine that a typical audience for this production to be those who enjoy accessible, melodic rock in general, and in particular those amongst that rather crowded audience who frequently listen to Pink Floyd's late 70's albums. Fans of early 80's Camel might also desire to find out more about this album however, as well as those who truly enjoy Eloy's early 80's albums.

My rating: 80/100 
Track list:
 1. The Journey Begins (The Avalon Overture)
2. Avalon, Pt. 1
3. Merlin
4. Lady of the Lake
5. Excalibur
6. Avalon, Pt. 2
7. Camelot
8. A Love Betrayed
9. The Son
10. Avalon, Pt. 3
11. Le Morte D'arthur
12. The End
Bonus track:
13. The Road to Avalon

Frail Grounds - The Fields of Trauma (2012)

Norwegian band FRAIL GROUNDS have been around since 2005, and have issued one EP and one full length production so far. The latter of these is "The Fields of Trauma", which was self released in the fall of 2012.

Progressive metal is the name of the game for this conceptual production, albeit a variety of this style that generally shies away from the most commonly used varieties of it and that at the core has just about as many points of reference to good, old fashioned power metal as I experience this production. Hammering rhythms and a fair few sequences of energetic, uptempo riff-driven themes documents the latter part of the description quite nicely I suspect, but those with a taste for musical fare of a more sophisticated nature gets their fair share of material to enjoy as well.

Frail Grounds is a band fond of variation. Alterations in pace, intensity and tonal ranges are common features throughout. Those fond of majestic guitar and keyboard arrangements should find plenty to enjoy on this album, as should those with a taste for quirky riff constructions and material somewhat more brutal and intense. Atmospheric interludes with violin and cello present - if digital or acoustic I can't really tell - is also a feature that occasionally appears, and a few nods in the direction of grand old men Dream Theater and Symphony X is also a part of the proceedings. On a few occasions with all variations and then some assembled into a single composition. Those fond of intently listening for details should have plenty to discover on this disc, it'll take quite a few spins before each and every detail present have been suitably decoded for that subset of listeners.

The musicians are all of high quality, as one kind of expect from those who have opted for metal as their music of choice and in particular those who explore the more demanding aspect of this kind of music. The guitarists can throw in a mellow, atmospheric solo with the same ease as pace-filled neoclassical runs, the bass guitarist caters for pace and rhythm just as much as basic melodic motifs, and those fond of good quality drummers and keyboardists shouldn't find this band to be lacking in that department either. Arguably with a varied repertoire as the main assets for all instrumentalists rather than technical abilities of the kind that will earn them individual accolades in music magazines.

In the negative department my admittedly highly sensitive ears picked out a few details in the vocals department. Frail Grounds utilize the contrast between dark toned, raspy and hoarse spoken like delivery, of the kind more common in what we used to call extreme metal in the days of old, quite nicely with clean, powerful and melodic lead vocals. But the latter of these aren't quite at the topmost level. Mostly due to occasional dips that I find to be subtly out of tune or harmony, mostly when the vocalist use the upper levels of his register. It's not a highly distinct dip however, those with better knowledge than me about vocals on a technical level have described my sensitivity in that department to kick in when vocals are 1/8 of an octave away from the optimal, and I suspect the greater majority of listeners won't ever notice this detail. Still, those who know they are highly sensitive to matters of that nature might approach this disc with a slight bit of caution due to that.

All in all, "The Fields of Trauma" is a well made, performed and produced creation, an hours worth of high quality progressive metal of the conceptual kind. The compositions are varied in structures and arrangements both, and incorporates everything from gentle atmospheric themes to energetic power metal and sophisticated progressive metal on their journey, with occasional nods to the more extreme parts of the metal universe along the way. A strong debut album by a talented band.

My rating: 78/100
Track list:
1. Prologue: Arrival
2. The Expedition
3. Freeze Me
4. A Rural Trauma
5. The Sinister Road
6. Triptych
7. Origin
8. Deathlines
9. Siberian Nights
10. Emberstorm
11. Epilogue: Completion

Peter Dolving - Thieves and Liars (2012)

Swedish composer and musician Peter DOLVING is probably best known as a member of Swedish band The Haunted, where he provided lead vocals for a brief period when they started out, and then returned in 2003 for a nine year long haul in the same capacity. A relationship that came to an end in  2012. "Thieves and Liars" is Dolving's first solo album following his break with his former band, and was initially self released in the fall of 2012, with an official release through Deadlight Entertainment following in January 2013.

On the 11 tracks that makes up this disc Dolving will leave the majority of his listeners more than a bit mystified, as this isn't a production that sports to many details binding everything together. An overall closed in sound due to mix and production is perhaps the strongest identity detail at hand, with Dolving's often partially spoken lead vocals another details that to some extent can be described as uniform throughout. Apart from that this CD is the musical equivalent of an improvised stew, a lot of bits and pieces of more or less dubious origins cooked together, served on a plate while the chef hopes that the various ingredients in  the gravy actually works in combination.

By and large my opinion is that the end result is worthwhile on this occasion. There are plenty of subtly twisted effects throughout, details from psychedelic rock and post rock are applied with the same ease as indie rock and alternative meta. Occasional post metal tendencies pop up on regular occasion too, and there's even a nod or two in the direction of krautrock and punk. With lead vocals delivered in a manner one might suspect a hypothetical child of Alice Cooper and Tom Waits may have developed, possibly while having a joint hangover and anxiety attack.

The important detail that makes this all tick rather than assembling into a chaotic mess is the solid rhythms foundation everything else is applied on top of. Compelling bass lines, more often than not of the heavy variety, and the quirky and at times fairly intricate drum patterns courtesy of Per Möller Jensen. A solid rhythm department have been the saving for a number of productions in vastly different styles over the years, and Dolving's "Thieves and Liars" is another testimony to just how much this basic feature can elevate individual songs as well as an album as a whole.

Dolving has made himself a fairly challenging creation with this disc, and the myriad of styles explored as well as the twisted details applied throughout results in an album that won't have a broad appeal. But those looking for innovative musical fare and don't mind healthy servings of angst and anger, the latter in particular, might well find this chaotic and mixed journey to be a compelling one.

My rating: 71/100Track list:
1. Meinhof
2. Song For You
3. Hands On
4. One Sweet Moment
5. Ordinary Folk
6. Sunday Mornings
7. Cocksucker Blues
8. My Will To Die
9. No Solicitors
10. So Sick
11. All This Beauty

Transcend - The Mind (2011)

Canadian foursome TRANSCEND was formed in the summer of 2006, and it took them five years to create, develop and record what was to become their debut album "The Mind", initially self released as a digital download in 2011, and in 2012 given a hardcopy release courtesy of US label Melodic Revolution Records.

In terms of style there's basically two bands worth mentioning as comparisons for this act. The first and least important is Rush. Traces possibly inspired by these fellow Canadians pop up on a few occasions throughout, mostly in the less intense passages, but all in all is a minor direct influence as far as I can tell. But a band you can't avoid mentioning when dealing with Transcend is Dream Theater, and in particular the sound that band explored around the time when they release Awake. As far as major influences go this one merits a description as certain rather than possible, although there is the odd chance that it's a case of indirect rather than direct inspiration.

This Canadian foursome is an ambitious crew it seems, as their first foray into the world of recording artists is a double album, and a conceptual creation to boot. In a day and age where just about anyone easily can release whatever they want of music it isn't that unheard of to have such a creation as the opening move in a future career, but it is still unusual enough to merit mentioning. This is a Canadian quartet that comes across as high in confidence and self belief, and with dedication to see it through as well. Which is a nice detail to observe in a young, up and coming band.

The music itself isn't quite as ambitious. The majority sticks to a slow to midpaced tempo, with occasional runs of a more spirited nature. There's plenty of variation however, with alterations in pace, intensity and mood throughout, but generally lacking the more demanding and intricate, quirky dimensions of aforementioned Dream Theater. But there's good flow and momentum throughout, and they know how to work a tune to take it from bombastic themes to gentler grounds with a natural grace and smoothness many might envy them. The use of guitars and keyboards as counterpoints and contrasting features is a skill they master, as is using both sets of instruments as harmonizing entities creating majestic, richly textured arrangements. A detail more peculiar to this band is that they frequently opt for guitar and piano combinations, a variation that most often result in themes that are joyfully and subtly different from what many other progressive metal bands create.

Mix and production does leave a bit to be desired however, and while bass and drums are employed quite nicely and to good effect these instruments doesn't manage to elevate the compositions either. But the studio efforts and the contributions from the rhythm department is passable, by all means, but to my set of ears these details of the complete whole is of the bread and butter variety as far as quality goes rather than something better.

The weak link in this band however, at least for this set of ears, is the vocals of Costa Damouliano. His voice and delivery works at times very well in the gentler parts of this album, but whenever he needs to add emotional impact or deliver the vocals more forcefully the end result becomes too strained. Perhaps a tad out of tune on occasion, but a more frequent listener experience is that he fights a losing battle to control his delivery whenever vocals with a higher degree of impact is needed. Especially when he has to use the higher parts of his register. I know I'm incredibly sensitive to vocals and that many won't ever notice this, but for me this is the main reason for this album to come across as a pleasant experience rather than something a bit more interesting.

Transcend have made themselves a fine debut with "The Mind", a double CD whose major strengths are varied compositions and cleverly constructed themes based around guitar and keyboard interactions as the dominant features. If you tend to enjoy progressive metal from the Dream Theater school this is a production you can safely add to your list of music worth checking out at some point in time, as long as you're not the kind of person who has a very sensitive ear as far as lead vocals go.

My rating: 63/100

Track list:
1.1. Moment of Infinity
1.2. Entity Divine
1.3. The Love Song
1.4. Reign Over Me
2.1. The Mind Part 1: The Mind Awaits
2.2. The Mind Part 2: To Walk Away
2.3. The Mind Part 3: New Horizons
2.4. The Mind Part 4: Carved in Stone
2.5. The Mind Part 5: In the Shadow of My Mind
2.6. The Mind Part 6: Downfall
2.7. The Mind Part 7: Ascension
2.8. The Mind Part 8: A New Mind for a New World

Paul Hayworth - Scar (2012)

Austrian composer and musician PAUL HAYWORTH isn't the most highly profiled artist in his homeland nor elsewhere, although I do understand he has experienced some relative success as a member of the band Freud. He appeared as a solo artist in 2011, and throughout 2011 and 2012 he made a plethora of his solo recordings available on the Bandcamp website. When and where these were originally made I don't really know, nor of they have ever been released previously. If the latter is the case, then it's been done in a rather subtle manner though, to the extent that one can't Google some documentation on that fact. "Scar" is one the dozen or so albums by Hayworth, and was made available in July 2012.

The name of the game on this occasion is what I'd describe as lo-fi pop/rock. It sounds like it could have been recorded anytime from the late 70's or onwards, to my ears and mind sometime in the late 1990's would be an estimated guess. But the sound is timeless in a very lo-fi manner, and the music itself doesn't reveal any characteristic features that binds it to a certain time period that I can establish with my musical knowledge (or lack thereof).

The individual compositions are by and large vocal driven affairs, the instrumentation providing a backdrop for Hayworth's voice and textured inserts between the vocal passages to a greater extent than being a part of a total whole where the vocals is but one element. Besides Paul's melodic but slightly gruffy vocals, the combination of acoustic and electric guitars is a central element throughput. The former providing a stable melodic core, the latter adding darker toned textures, the occasional soloing runs and a fair amount of psychedelic oriented details on a number of occasions. To the point that quite a few items here should be of interest to those with a dedicated taste for psychedelic rock. Hayworth's vocals also reflect this mood on those occasions, opting for a lighter toned, clean and somewhat distanced delivery adding and somewhat emphasizing  a 70's mood to the proceedings.

Mix and production are the main reasons for me branding this music lo-fi. Unbalanced, and not at all clean and orderly in the manner we're used to in this day and age of Pro-Tools and other digital tools that empowers even home and amateur artists with the possibility to create recordings that sound professional. This may be an intended element for Hayworth however, specially as there's a market and general interest in lo-fi rock music despite of or possibly because of the slick soundscapes we encounter whenever we listen to contemporary music of any kind.

As far as the tracks themselves are concerned, they tend to stick and stay in the pleasant department for me. Hummable, likable pieces of music that I could listen to anytime and anyplace, but without making a grand impact of the kind that gives me a strong desire to deeply investigate them through and through. Music for any odd occasion, and I suspect that this is an album that would really thrive in the car stereo. A couple of compositions do stand out however: Opening piece Hate the Throwbacks, a nifty bass driven affair with psychedelic details and subtle electronic effects in an otherwise energetic setting. Later on the somewhat more straight forward When You're Feelin Blue also makes a subtly stronger impression, an effective combination of acoustic and electric guitars supplemented by rough vocals and an all around forceful display of 80's/90's indie rock.

My rating: 62/100

Track list:
1. Hate The Throwbacks
2. All Stars In Heaven
3. Crazy Tree
4. Carridgeway
5. Jimi's Not Dead
6. When You're Feelin' Blue
7. Rounderbout Song
8. Scar The Sky
9. Waiting

Resilience - Birth 2.0 (2012)

French project RESILIENCE was formed back in 2004, and the following year they had a demo tape ready and started working on their debut album. Following a four year long pause work commended again in 2011, and 2012 saw them release their debut album "Rebirth 2.0". Self-released as of now, but it would appear that they wouldn't mind getting some label interest for their production.

The creative heart of this band is Adeline Gurtner (vocals) and Benjamin Sertelon (guitars), and as one might surmise vocals and guitars are essential features in the music that has been crafted. The style resides somewhere in the realm of contemporary metal, and an accessible one at that.

The most striking detail of this album is a rather different one though, and one that first and foremost is found in the initial phases of their compositions. Intriguing and fairly innovative use of electronics, paired off with electric or acoustic guitars, creates compelling moods and atmospheres throughout. A brilliant approach the band might explore a bit more to my mind, as quite a few of them really made a grand impact. Instead Resilience opts to shift focus on to more conventional arrangements as the songs develop, frequently alternating between gentler passages and guitar riff driven constructions backed by the solid rhythms of Yann Van Eijk. Pleasant and fairly accessible metal with a strong mainstream orientation, with ample room for the lead vocals of Gurtner to soar, especially when the songs hit one of the tranquil phases obviously.

And when they opt to experiment also later on in the songs or for more elongated spans, not all of the more or less innovative approaches will sit too well with a core metal audience. The Fall, with some sort of twisted guitar version of modern R'n'B for instance, or the more techno-inspired electronic twists found on Rewind. Most certainly innovative and creative, but not material of the kind that will open the hearts of too many fans of acts like, say, Motorhead.

The album itself is a pleasant one though, I'll readily admit to that. With Introspection 2.0 as the high point for me, a piece that alternates between a purebred ballad expression and a harder edged metal style, with guest vocalist Daniel Gildenlöw's vocal talents elevating this piece into a a more intriguing experience by his sheer passionate delivery.

"Birth 2.0" is a promising debut album by a band that flirt with and utilize electronics and synths to good effect in an otherwise fairly mainstream oriented, accessible variety of contemporary metal. Not a brilliant beacon in the realm of metal, but one worth checking out by those with a taste for accessible metal bands that does incorporate a few sophisticated details into their material. That they have a female lead vocalist might also be a detail worth mentioning as for whether or not this is a production worth giving an initial spin.

My rating: 65/100
Track list:
1. Introspection
2. Aborted Freedom
3. Against the Tide
4. Mirror of Souls
5. Finally Be Me
6. The Edge of the Abyss Inside
7. Let Him Fly
8. The Fall
9. In the Hurry
10. Introspection 2.0
11. Threat
12. Rewind

Computerchemist - Signatures I (2013)

Hungary-based project COMPUTERCHEMIST is the creative vehicle of Englishman Dave Pearson. He started issuing material using this alias back in 2006, and have a total of seven full albums to date. The two most recent of these are Signatures I and Signatures II, both of them released in January 2013 as separate entities rather than as a double feature. Both of them featuring the talents of Zsolt Galantai on drums.

What separates these two productions, if anything, is something time will have to reveal for me personally. But as far as the first chapter of Signatures goes, it is an interesting excursion into a realm whose founding fathers were Tangerine Dream and Kraftwerk. The traces of the former a distinctive feature throughout, but with occasional details and subtle traces of the latter appearing on occasion.

Pearson's approach as a composer is one that some might describe as somewhat one-dimensional. His creations doesn't head off into unexpected directions, and he isn't too fond of applying dramatic effects either. In fact, my impression is that something of a feature throughout this album is that some care has been taken to avoid any truly dramatic occurrences whatsoever. Instead, these musical journeys open up, quickly establish one or more lead motfis or ongoing musical details that will stick with us until the end, and then the song gradually, subtly and carefully develops. Textures, instruments and patterns come and go in a logical, fine flowing and unobtrusive manner. It's like Pearson have looked at a "hush, don't disturb" sign and used that as something of a vision, we're taken on a journey where we're invited to enjoy the journey itself rather than the promise of surprises along the way.

Just how intriguing the eight journeys presented to us here will be is a matter of individual taste more than anything though. It is something of a prerequisite to enjoy compositions developing in the matter outlined obviously, but apart from that it will be an individual case just how compelling each composition will be. Personally I found the creations exploring the darker moods most intriguing, Corporatosaur and Six Phase Mains first and foremost. Complete with gently hammering electronic yet melodic effects and effective synth effects, a fine coating of drum patterns courtesy of Galantai and atmospheric guitar details of a kind that should find instant recognition by those familiar with late 70's Pink Floyd. Most impressive of all to my ears is the concluding piece though, listed as a bonus track. Landform 2012 is something of an exception to what's previously described, as this short piece utilize a fair degree of dramatic effects, although applied and utilized with care, and at least to my ears the arrangements are somewhat more intricate too, with several contrasting patterns and motifs creating a stronger nerve throughout.

All in all a fine piece of electronic music of the progressive variety, employing and utilizing elements from the art rock realms to good effect. Floydian guitar details in particular, but drummer Galantai appears to be a musician well versed in sophisticated music too and adds a vibrant, organic and skilled touch to the proceedings that does elevate the overall experience.

My rating: 75/100

Track list:
1. Caterpillar Pirouette
2. Dobdub
3. Zsoltmatic-10
4. Corporatosaur
5. Six Phase Mains
6. Convection of the 9
7. Broken Daliuette
8. Landform 2012

Various Artists: Re-Evolution, FdM Sings The Hollies

The premise for this latest collection of cover versions released by UK vinyl specialist label FRUITS DE MER RECORDS was to set matters straight for 60's band The Hollies. As the label states on their homepage: "The Hollies - Manchester's answer to The Beatles, and a bloody good answer at that. Great songs, great vocals, great band - so why are they so massively underrated?"

While I can't claim to be overly familiar with this band myself, at least the songs presented on this album does showcase a band that most likely is deserving of more attention. It's unfair comparing this material to The Beatles however, while I do hear quite a few similarities to the Liverpudlians it would appear that The Hollies didn't have their uncanny feel for chorus lines sticking like glue and recurring themes with a universal appeal. But for fans of 60's rock with a psychedelic touch it would appear that The Hollies is a band that merits an inspection. At least if these revised versions of their material is a fair representation of their output.

I understand that this particular project started out as a 4 track EP project. By the time it was finalized the 4 track EP had turned into a 4 track bonus single supplemented a full length vinyl album. Which, I guess, documents that the artists involved either had an existing fascination with this band or developed it when exploring their material following the invite to become involved. A development I guess merits an interest in this release for that particular reason alone.

The album itself isn't among the ones I'd place on the top shelf of Fruits de Mer releases however. The label's history of releasing good quality productions remains also with this item however, it's a case of a few more instances of nice material and a few less of the spectacular this time around.

In the bread and butter department this time around Beautify Junkyards take on Butterfly kicks off quite nicely, a smooth and melancholic affair light in tone and spirit. Auralcandy's version of Heading for the Fall is a pleasant affair with piano and organ as the main identity elements adding a slight The Doors vibe to the otherwise subtly Beatlesesque territories explored, followed by The Bevis Frond taking on Hard Hard Year as a slowly paced, easygoing affair lightly flavoured with psychedelic guitar details. Us and Them gives us the second run through Butterfly, and while different in expression this piece appears to be difficult to recreate in a truly spectacular fashion, at least as I perceive this piece. A nice, smooth and delicate composition, but not of the gossebump-inducing kind. Smooth midpaced rock based around vocals and acoustic guitar is the case for King Penguin's Dear Eloise too, with some nifty raga flavouring expanding the dimensions of this piece quite nicely. And when Langor concludes this production with Everything Is Sunshine, they do so in a nice and elegant manner, utilizing piano and organ with careful psychedelic touches provided by the guitar.

The remaining tracks are all subtly more intriguing, with a few cases of sheer brilliance thrown in for good measure. The Seventh Ring of Saturn adds raga tendencies and droning textures to the otherwise Beatlesesque All the World Is Love, an effective mix that should find favour amongst a majority of people with an interest in psychedelic music. Jay Tausig also opts for raga and sitar details, alongside psychedelic flavoured guitar details, for his take on Elevated Observations. Hi-Fiction Science opts for more of a minimalistic initial take on King Midas in Reverse, building up quite nicely into an impressive instrumental ending that elevates this piece into something spectacular. and continuing with a secoind piece of minor magic, The Re-Stoned transforms Then the Heartaches Began into a piece that wouldn't have been out of place on a Hawkwind album, albeit with slightly more of a punk attitude in this case. And when sampled voices and effects have outplayed their initial roles, the bubbly electronic sounds that dominate Moonweevil's take of Bus Stop is a fascinating encounter concluding side A of this 12 inch slab of vinyl.

The Gathering Grey kicks of the B side with an energetic run through Postcard, light in tine and spirit but maintaining a strong momentum, variation by effective use of Mellotron and light psychedelic flavouring. Gentle rhythms, a nifty bass motif and careful psychedelic guitar details are effectively combined for Sky Picnic's take on Try It, while The Neutron Drivers actually reminds quite a lot of Madness when they explore Water on the Brain, prior to shifting gears for a splendid psychedelic stomping finale that is. The Higher State appears to have taken a time machine and traveled back in time to a studio in the 1960's someplace for their rendering of Don't Run and Hide, a song that comes across as a true to life time piece more than anything and a very well made one at that. And finally The Electric Stars proves the worth of a sticky chorus and verse line with Jennifer Eccles, perhaps not the most impressive standalone track at hand but one that will etch itself into your brain and stick like glue.

All in all another good quality production courtesy of Fruits de Mer, and while these guys generally sell out their releases almost as fast as tickets for Led Zeppelin reunion concerts, a general advice for this one would be that those with a particular interest in 60's psychedelic rock should take note of this album. Alongside, for natural reasons, fans of The Hollies.


My rating: 75/100

Track list:
A1. Beautify Junkyards - Butterfly
A2. The Seventh Ring of Saturn - All The World Is Love
A3. Jay Tausig - Elevated Observations
A4. Hi-Fiction Science - King Midas In Reverse
A5. The Re-Stoned - Then The Heartaches Begin
A6. moonweevil - Bus Stop.
B1. The Gathering Grey - Postcard
B2. auralcandy - Heading For A Fall
B3. The Bevis Frond - Hard Hard Year
B4. Sky Picnic - Try It
B5. The Neutron Drivers - Water On The Brain
B6. Us and Them - Butterfly.
C1. The Higher State - Don't Run And Hide
C2. King Penguin [USA] - Dear Eloise
D1. The Electric Stars - Jennifer Eccles
D2. Langor - Everything Is Sunshine

Spagyrikerna: Spagyrikerna (2013)

Swedish band SPAGYRIKERNA can trace their history back to 2009, when they started out as The Spagyrics. 2012 saw them altering their band name to their current one and releasing their first single "Sekel", and on February 12th 2013 their self-titles debut album was released by fledgling Swedish label WHITE LINE RECORDINGS.

This 30 minutes long production is an interesting one. In style they reside somewhere between indie rock and art pop, sporting fairly straight forward compositional structures but with occasional quirky details and developments, while the arrangements caters for the majority of the art pop associations that comes to my mind.

The majority of the tracks have a tight drum and bass foundation at the core of the proceedings. The most intriguing ones to my mind opening effort Den förste kärleken, sporting a massive, loud and fairly intricate drum pattern in tight interaction with a circulating bass motif. An energetic foundation for the emotional lead vocals to play upon, supplemented by circulating electronic sounds and nifty, effectively utilized guitar details. Slowing down ever so slightly and adding a subtly lighter tone for the chorus. A brilliant piece of sophisticated, energetic pop/rock. Just as intriguing but rather different is final piece Rensa ut allt, on this occasion with a steady, dampened drum pattern and a fairly sophisticated bass motif as the foundation, sporting a light toned, recurring guitar motif, layered keyboards for the chorus and an intense, majestic instrumental final passage that ends this album on a high note.

The rest of this album generally holds a high quality too. The gently hammering rhythms and somewhat more simplistic piece Bakhåll and the slower paced, melancholic In med mörkret the least convincing to my ears. Both of them more pop-oriented affairs with a presumably wider overall appeal. Otherwise drums and bass are used to good effect to establish a driving foundation for the lead vocals, which are the central element in all songs, to play upon, and well thought out contributions by guitars and keyboards supplement the core elements quite nicely. Keyboards and guitars contrast each other quite nicely, at least in the instances when both aren't utilized as counterpoints for a more dominating bass guitar, and the moods and atmospheres created and explored are well made and appealing overall.

If you're in the mood for pop/rock somewhat more sophisticated in nature than what you usually encounter on FM radio, Spagyrikerna's debut merits an inspection. Especially if you have a particular fascination for compositions revolving around dominating bass and drum motifs.

My rating: 80/100


Track list:
1. Den första kärleken
2. Stekel
3. Tumba
4. Sträck ut mig
5. Bakhåll
6. Donatorn
7. In med mörkret
8. Rensa ut allt

The Grand Trick: The Daily Dose (2013)

Swedish band THE GRAND TRICK was formed back in 2003. They have two full length albums and two EPs to their name so far. "The Daily Dose" is their third EP, and is due for release on March 1st on fledgling label WHITE LINE RECORDINGS.

And this three track EP, clocking in at just under 15 minutes, should be a treat for fans of classic era oriented hard rock. Opening and title track The Daily Dose kicks off in a tight and energetic manner, with finely controlled relaxed lead vocals underscored by a pace-filled, tight drum and bass foundation and dampened impact riffs, with an effective organ texture hovering on top in a manner that might give rise to associations to a band like Deep Purple. Perhaps with a slight touch of The Doors as well. A splendid piece of music that hopefully will find it's way to FM radio and a track that deserves recognition.

The following item Mudbound is more of a traditional blues based hard rock affair, with recurring piano and blues guitar details, a recurring guitar and bass driven theme acknowledging the legacy of early Black Sabbath and a slight touch of Blue Oyster Cult at times. Well made and well performed, but not quite that much of a high impact piece to my ears.

Falling kicks off in a manner very similar to opening piece The Daily Dose, but with more of an emotional lead vocals delivery. And for this last compositions a slower paced, lighter toned and arranged second theme is inserted as a recurring element, adding a touch of the rock ballad to this creation, and fans of progressive rock and sophisticated vintage rock alike will also appreciate the calm break in the second half with piano and flute backed by the good old Mellotron for a suitably sensitive passage further enhancing the emotional aspect of this piece.

A high quality EP that, at least to my ears, is the most interesting production by this Swedish band so far. Not a release to seek out if you want your music to seek out new boundaries and sounds, but of high quality hard rock with one foot and a set of eyes firmly set in the 1970's is to your liking this is a production you should enjoy.

My rating: 93/100


Track list:
1. The Daily Dose
2. Mudbound
3. Falling

Soft Hearted Scientists: Whatever Happened to the Soft Hearted Scientists (2013)

Welsh band SOFT HEARTED SCIENTISTS have been around in one shape or another since 2001, with Cardiff as their base of operations and these days sporting four members, following an initial phase of existence as a duo with special guests contributing. The band have four studio productions to their name so far, with a fifth set for release later in 2013. And while their small but dedicated fanbase awaits the next chapter of the musical exploits of this Cardiff foursome, Fruits de Mer Records have decided to release a compilation album featuring material from all parts of their career. To be released as a double vinyl production, complete with a bonus 7'' single, sporting the slightly curious title "Whatever Happened to the Soft Hearted Scientists".

It doesn't take too long before this compilation leaves me somewhat bewildered, as this is a rather unfamiliar musical ground for me. Once a metalhead that later developed a taste for progressive and sophisticated music, this is a band and an album that represents a very different sound to what I'm used to, and presumably I'll be missing vital points about origins, influences and similar sounding artists both left, right and centre on this one. Most likely bringing some rather odd associations to the table to boot. Be that as it may be, hopefully someone may still find some use to these written words.

My main impression about this act is that their material has a naive, innocent sound. The moods and atmospheres from a world less dark, threatening and informed than today. Music from the age where people could still believe in people. Also known as the 1960's. And there's a distinct smell of flowers in the air when playing this music, and possibly some fragrances of a more dubious origin too. By now I should add that these are impressions harvested at the start of their various compositions, but as they develop these creations does reveal a band that isn't quite as one dimensional.

The songs start out coming across as singer/songwriter material more often than not though, with light toned acoustic guitars and calm lead vocals the main and dominating elements. But as the initial phase ends, or more often as the song develops, quite a few additional features are added in. Psychedelic tinged, subtle synthesizer and keyboard textures, echoing guitar licks, brooding downmixed organ and what I suspect is some variety or other of Mellotron find their place, most often utilized sparingly and to good effect but occasionally used as parts of a richer, layered arrangement that may even be described as majestic from time to time. But not in a dramatic manner. Soft Hearted Scientists do live up to their choice of moniker, their pieces generally maintain a calm and controlled spirit even when the arrangements are fairly sophisticated. Some instances of vocals with a slight touch of The Beatles about them appear from time to time, and a few tracks have a slightly darker edge and whimsical nature to them that gives me associations to artists often referred to as Canterbury when describing their style. Soft Hearted Scientists is a band I'd describe as one with a foundation closer to the singer/songwriter and folk music traditions though, and a band that showcase an eager interest in applying psychedelic and odd sounds to their material. A few more purebred psychedelic pieces does appear too, and that a song titled At Night the Quarry Glows Like a Mothership is among them shouldn't surprise anyone.

This is a good and fascinating album, of that there isn't any doubt. Those who tend to enjoy psychedelic music of the kind that generally doesn't employ dramatic effects and who tend stay calm and controlled should be a likely crowd for this production, fans of psychedelic folk music too. And if you can check both these points and have an additional affection for the likes of The Beatles, then I suspect that you and Soft Hearted Scientists is a match made in heaven somewhere. Not the best description or recommendation this album will harvest by far I suspect, but the best this old metal head is able to come up with for this particular production.

My rating: 88/100

Track list:
A1. Whatever Happened to You
A2. Mount Palomar
A3. Wendigo
A4. Brother Sister
A5. The Yongy Bongy Bo
B1. At Night the Quarry Glows Like a Mothership
B2. The A470 Song
B3. Siberia
B4. Rockford's Return
C1. Eyes
C2. The Caterpillar Song
C3. The Strangest Scene
C4. The Garden Song
C5. The Midnight Dance of the Mexican Vampire
D1. Road to Rhayader
D2. The Trees Don't Seem to Know That It's September
D3. Halloween People
D4. Night of the Hunter
D5. Whatever Happened to You/The Sleepers in the Hill
The Take Time to Wander Sessions:
E1. Comet's Tail
E2. Newest Things
F1. Daisies
F2. Light Years to Nothing

Various Artists: The Crabs Sell Out / The Crabs Freak Out (2012)

UK indie label FRUITS de MER Records have been a going concern for a few years now, cementing their place in the market with their own particular brand of limited edition vinyl only releases. One of their slightly unusual habits is to produce some material aimed more or less exclusively towards their firmest core of buyers, and the most spectacular of their productions to fit this description is their final release of 2012: A double album, CD only on this occasion, that basically is unavailable to the public at large. Instead a select few of their most dedicated buyers and a select few reviewers was given the pleasure of enjoying this particular production. For free. I'm not aware of too many other labels laying down this much effort for what is basically a Christmas present to their most dedicated supporters, but kudos to Fruits de Mer for doing so. As far as creating a real emotional attachment to their endeavors, this is a stroke of genius. Especially as most of the people who receive it will know how much this production have cost in terms of time and money to put together.

The first disc of this dual package has been named "The Crabs Sell Out", and as one might expect from that choice of description the whooping 17 tracks you'll find on this disc are fairly accessible items, quite a few that wouldn't have been out of place on regular mainstream daytime radio. As usual all contributions generally hold a high quality, just about the only letdown for me personally was the freaked out version of Hoochie Coochie Man towards the very end, Permanent Clear Light's Tuitsie Fruitsie Ice-Cream Man (Madman Blues). A song that will find it's audience for sure, but not compatible with my personal taste in music. A couple of more tracks were of the kind I'd describe as pleasant experiences, good music but not to the extent of really impressing.  The Bevis Frond's Not Quite Home with it's acoustic guitars and vocals dominated verse followed by a harder edged, riff and vocals based chorus is the first of these and The Pretty Things' rock and roll goes rockabilly with an early 70's hard rock flavoring Rosalyn the second of these. Both compositions again sure to have it's avid followers, but to my mind none of these were truly standout features.

But the rest of the material range from good to great to my ears. The Past Tense opens this disc with a delightful psych-dripping guitar theme firmly backed by organ and keyboard effects, while Stay utilize careful psychedelic keyboard effects on top of sitar and guitars taking turns in providing the main psychedelic features on Super Heavy Soul Mammoth Explosion Remix. Sky Picnic have nice Beatlesesque verse parts adding a Tom Petty edge for the chorus, contrasted by a darker toned and more distinctly psychedelic oriented instrumental sequences on Lost Is Found. Anton Barbeau showcase the strength of relative simplicity on Occupy/Divide, where vocals and acoustic guitars dominate the proceedings in an inspired manner with a brooding dark undercurrent catering for the psychedelic tendencies quite nicely. The Seventh Ring of Saturn utilize elegant spacey keyboard details to their slow but tight arrangement on Pillsbury Palace, a subtly distanced affair with a slight detached nature. Jack Ellister combines loose improvised sounding psych instrument breakdowns with darker toned, harder edged compact 60's tinged rock to good effect, while Rob Clarke & The Wooltones use the buzzing psychedelic guitar solo to good effect following their spoof radio advert and lighter toned, acoustic based start of their creation Are You Wooltoned.

The Lucid Dream provides the first taste of the truly brilliant for me with Hits Me Like I'm Stoned, Live on Dandelion Radio. Complete with raga drones and an elongated feature that should find favor among those who are dedicated fans of 70's Hawkwind. King Penguin use light toned guitars and gentler psychedelic details on Cedar Hill, with a slight southern rock flavor that gives this effort a distinct US sound. Johnny Vines American Mourning should be a thrill for those truly fond of the good old Mellotron, and utilize an effective build up from light toned simplicity to majestic splendor, with a sound that I'd describe as perhaps more post rock than psychedelic as such, at the most majestic with a slight metal edge to the proceedings. Soft Hearted Scientists pair off light toned vocals and acoustic guitar displays effectively with darker toned vocals and organ, following an initial introduction. Leigh Gregory showcase effective use of sparse arrangements with vocals, acoustic guitars and violin on the mournful, melancholic piece Eleanor. Beau sticks to the same principle of simplicity even more brilliantly on Poor Old Thing, a superb constellation of bass, acoustic guitar and vocals, with barely audible rhythms beneath. Paul Roland's Adam Adamant also sticks to the simplistic, with sax and trumpet bursts (I think) supplementing plucked guitars and steady rhythms, with a couple of keyboard overlays thrown in for good measure.

The second disc of this set, "The Crabs Freak Out", comes with an expectation of more challenging material than on the first one. And while quite a few of the 15 songs aren't your typical freakout items, just about all the most challenging material is found on the second part of this relatively exclusive double feature.

Personally I found this second part to be ever so slightly less interesting than the opening disc however, not due to any details that resides in the quality department though I should stress. As with most other music this is a matter of personal taste more than anything else. Temple Music's Big Old Sun was a piece I found dizzying and annoying rather than hypnotic with it's distinct brain-twisting electronic motif oscillating at the start and end, and Palace of Swords' The Castle Spectre with it's repetitive, distinct synth theme backed by careful droning keys and percussion grew way too repetitive and bothersome for my personal taste.

In the pleasant but not that impressive department, according to my taste, there's a few instances as well. Sendelica's Space Hopper Blues is a nice enough feature, but to my ears more of a typical power trio blues based hard rock affair with subtle space rock effects applied rather than the opposite in expression, nice enough material but lacking the finder details that would elevate it to the level of, say, one of the classic Robin Trower escapades from the early 70's. Anla Courtis' Helice de Sauco is a very different piece, and it's dampened acoustic guitar and electronics freakout one of those items that will have it's very dedicated audience, but again lacking some finer detail or other to make a grand impression for me. Then there's Helicon's two pieces, the elegant piano and guitar combination of Introduction to an Interlude and the psych-drenched counterpart Pollen, fine pieces of music both but too short to manage to create a real impact for me.

The remaining songs all managed to make more of an impression with me however. Vespero's Another Strangest Thing in the Ocean is a fine display of controlled space rock with improvisational elements included, and Red Elektra '69's Ride in the Stars is an item that has the spirit of Hawkwind written all over it, in a good way I might add. Vibravoid use spoken like vocals and a dark, brooding organ to good effect on Random Generated Future, a composition that blend some rather obvious nods in the direction of The Doors with a few select futuristic space rock details. Nice. Vert:x' Cube Abuse returns to the classic Hawkwind style. The harder edged part of it to be precise, and I suspect a studio recording of this track would reveal quite a few tasty secrets hidden on this live recording. An enjoyable romp nonetheless. The Luck of Eden Hall's A Drop in the Ocean kicks off with dark toned, fuzz and fuzzy guitars dominating, then shifts towards more of an electronics and keyboards driven affair building up to freakout climaxes. Earthling Society's In the Garden is a feature I suspect will find most favor amongst fans of psychedelic folk music, with acoustic guitars, drones and recorders alongside careful percussion, and a second half rising in pace and intensity alongside female moans. A song where the word climax is sure to be used in descriptions and perhaps even in a few personal experiences for some listeners. Psychedelic music and the realm of the erotic aren't items commonly combined, at least not these days, but those eager for music celebrating the more intimate parts of existence should take notice of this one. Hills Have Riffs' Remembering is a much more grounded affair, with a dual layer of acoustic guitars supplemented by a subtle brooding drone and careful guitar solo details, a tad repetitive but establishing a nifty and compelling mood and atmosphere still. Finally there's Language of Light's Nancy's Song to Psyche, opening with spoken female words, a dark drone as undercurrent and echoing guitar licks, developing into a smooth space and freakout-tinged affair sporting echoing fragmented spoken words, a distinct bass guitar motif beneath, an effective organ backdrop and some odd but suitable rhythm details. A hypnotic affair that manage to survive the disturbing, jarring electronic noise that concludes this introspective space journey.

All in all this double album assembled by Fruits de Mer is yet another high quality item in their release history. Those who'd like to get a taste of this production better hope it turns up on ebay at some point however, or that they know someone whose been lucky enough to receive this one in the post. An intriguing collection of music, and with more than 2 hours of it I would have given it the description very good value for money if it had been commercially available. As it isn't, I'll have to conclude that those lucky enough to get this double CD in the post got themselves a real treat for Christmas.

My rating: 75/100
Track list:

The Crabs Sell Out:
1.1. The Past Tense - The Past Tense.
1.2. Stay - Super Heavy Soul Mammoth Explosion Remix
1.3. Sky Picnic - Lost Is Found
1.4. Anton Barbeau - Occupy/Divide
1.5. The Seventh Ring of Saturn - Pillsbury Palace
1.6. The Bevis Frond - Not Quite Home
1.7. Jack Ellister - Great Esmeralda
1.8. Rob Clarke & The Wooltones - Are You Wooltoned
1.9. The Lucid Dream - Hits Me Like I'm Stoned, Live on Dandelion Radio
1.10. King Penguin [USA] - Cedar Hill
1.11. Johnny Vines - American Mourning
1.12. Soft Hearted Scientists - Drifting Away
1.13. Leigh Gregory - Eleanor.
1.14. Beau - Poor Old Thing
1.15. Paul Roland - Adam Adamant
1.16. Permanent Clear Light - Tuitsie Fruitsie Ice-Cream Man (Madman Blues)
1.17. The Pretty Things - Rosalyn

The Crabs Freak Out:
2.1. The Chemistry Set - Concert Intro
2.2. Vespero - Another Strangest Thing in the Ocean
2.3. Red Elektra '69 - Ride in the Stars
2.4. Vibravoid - Random Generated Future
2.5. Vert:x - Cube Abuse (Live)
2.6. The Luck of Eden Hall - A Drop in the Ocean
2.7. Sendelica - Space Hopper Blues.
2.8. Anla Courtis - Helice de Sauco
2.9. Earthling Society - In the Garden
2.10. Temple Music - Big Old Sun
2.11. Helicon - Introduction to an Interlude
2.12. Hills Have Riffs - Remembering
2.13. Language of Light - Nancy's Song to Psyche
2.14. Palace of Swords - The Castle Spectre
2.15. Helicon - Pollen