Category Archives: Music

Reviews, news, photos, thoughts and opinions about music, with a particular emphasis on the UK progressive rock scene.

Also Eden/Leatherat, The 12 Bar, Swindon

Double-headline gigs tend to divide options. The common criticism I hear is that you get less than a full set’s worth from whichever of the two bands you’d come to see, and with an ill-matched pair of bands there is always the risk that whole thing doesn’t quite come off. But when it does work you can end up with a great evening’s worth of music. The gig at Swindon’s 12 Bar Club saw Also Eden, a band I’d seen at the Cambridge Rock Festival sharing the bill with Leatherat, a band unknown to me, both bands playing 75 minute sets.

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Also Eden represents a triumph over adversity. Shortly after joining the band as replacement for their original singer Huw Lloyd-Jones in 2010, frontman Rich Harding was involved in a serious motorbike accident, and there were doubts whether he’d live, let alone be able to sing or walk again. By 2011 he was back on stage while still on crutches, and the band recorded and released “Think of the Children”, his first full-length album with the band.

Also Eden’s sound has many of the trappings of a typical neo-prog band with lengthy multi-part songs and that overdriven chorused lead guitar sound that’s as much a signature of prog as jangle is to 80s indie. But what sets them apart from many of their more derivative competitors is the passion and intensity of the delivery. With Rich Harding having fronted Marillion tribute bands there’s more than a hint of Fish-era Marillion, but I could also hear strong echoes of that band’s contemporaries Twelfth Night. This was very apparent in some of Harding’s politically-charged lyrics from their most recent album, from which the band drew the majority of the set. While perhaps not the most polished performance I’ve seen them do, it was nevertheless a good show. This is a band who I think ought to be destined for bigger and better things in the coming years.

Leatherat turned out to be a very different sort of band. With a mandolin-wielding frontman bearing more than a passing resemblance to Gilmi the Dwarf from “Lord of the Rings”, the five-piece played high energy electric folk rock, with electric violin as the principle lead instrument. Like Also Eden before them, the combination of a charismatic frontman and an intense performance made for a great live band. Although I had to miss the last couple of songs due to having to catch the last train home, what I did see was highly entertaining, and I’d certainly like to catch this band again.

As double-headline gigs go, this was one of the good ones, with the two contrasting but complementary bands that made a great combination. The two bands play together again at The Fleece and Firkin in Bristol on 12th April. Be there!

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The Classic Rock Society Awards

There has been a fair bit of discussion on Twitter regarding the Classic Rock Society’s annual awards. Despite it’s name, the CRS is mainly concerned with the progressive rock scene, with a membership heavily centred in South Yorkshire, where the vast majority of their gigs take place. They sponsor one of the stages of the Cambridge Rock Festival, which last year featured the likes of Morpheus Rising, Also Eden and the magnificent Kyrbgrinder.

But when it comes to their awards from the annual shindig at that Mecca of Prog, Wath-upon-Dearne, then questions start being asked about how representative of the wider progressive rock scene these awards really are, and what these awards actually achieve.

Don’t get me wrong. IQ, Mostly Autumn and Magenta are all great bands, and I probably ought to declare an interest in that I’m on first name terms with the members of one of those three. Although I’m personally not that big a fan of Pendragon, who picked up no fewer than four awards this year. But when it’s the same half-dozen bands that win year after year, you do begin to wonder exactly what purpose these awards serve. One bass player I won’t name thanked his fans online for his nomination for “Best John Jowitt Award”, which really says it all. The progressive rock scene has got far broader and far more diverse over the past decade, and the CRS awards completely fail to reflect this.

On one hand, if many of the members are diehard fans of particular bands, what’s to stop them voting for their favourites. On the other hand, the conservatism and parochialism of the awards is starting to get embarrassing. It’s getting to be the NME of Prog, and that can’t be a particularly good thing. It can even end up reflecting badly of some of the bands that win awards, in that it opens up their fanbases to accusations of being stuck in an 80s neo-prog time warp, unwilling to listen to anything new or different.

Although perhaps the real problem is simply that some people take the awards too seriously. To be voted best female vocalists by readers of a widely distributed newstand magazine that’s featured Kate Bush on the cover actually counts for something. To get the award for best album and best song on the votes of a relatively small and largely self-selecting group of people from South Yorkshire counts for rather less.

The CRS does a lot of good work in promoting progressive rock, and the leadership does appear rather more clued-in than some of the membership. But perhaps the way they do the awards need a rethink?

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Goodbye mFlow, hello Bloom.fm

I was quite an enthusiastic user of the now-defunct music streaming and download site mFlow. I’ve been beta-testing it’s successor, bloom.fm which is looking as though it’s going to be a very different beast.

I’d previously described mFlow as a cross between iTunes, Spotify and Twitter; it had something of a community aspect in the way you could “flow” tracks which other members could listen to, with a short but sweet Twitter-style commentary against each track.

Unfortunately the Achilles Heel of the site was that paid downloads were the only revenue stream, and too many downloads were seriously overpriced. While I was prepared, for example, to download a Dimmu Borgir album for £4.99 which cost three times that much in HMV, I can’t imagine anyone being willing to pay £19.99 for something like Mostly Autumn’s “Still Beautiful“. No matter how excellent the music is, it’s a fiver more than the band charged for the CD! The streaming and social side was great fun, but that side of things wasn’t earning money, it was just a loss-leader for download sales. And it does appear that they weren’t selling enough downloads for the site to be viable.

The successor seems to be designed as more a competitor for Spotify and Last.fm, with various subscription levels, although they’ve yet to reveal the pricing structure. It’s currently in Beta as iOS and Android apps, although a web-based version is coming. It will be interesting to see how it develops. At the moment the focus is on genre-specific radio stations (I’ve had the Prog channel running on my phone all day while I’ve been working), but playlists and some community features are coming. Follow BloomFM on Twitter to keep up with them.

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On Gatekeepers and Discovery

There has been discussion on social media recently about the changing nature of the music discovery process, and the role of the music press. Some expressed nostalgia for the days when the music press created a buzz about major forthcoming releases ahead of the release date to build up anticipation. On the other hand, I liked the way some artists who have embraced the fan-funded pre-order model reward those who’d paid up front months earlier by letting them be the first to hear the record, some weeks or months in advance of the retail release date. A music journalist suggested that made media outlets less likely review the records when bands did that. I’m not entirely convinced.

As I see it, the press aren’t as central as they were 20-25 years ago. They’re not totally irrelevant nor likely to become so in the foreseeable future but neither are they the sole gatekeepers that they used to be. And this is a good thing; it’s not healthy for a small number of gatekeepers to have complete control over what gets exposure. At it’s best, with human nature being what it is, there will be a degree of politics and favouritism. At it’s worst, you can end up with bands who kiss the right arses getting coverage at the expense of those with the most awesome music. And don’t get me started on the London-centric nature of so much of the press.

I was a prog fan in the dark days of the 1990s when the genre was more or less marginalised and ignored by the media. So the internet has always been a major part of the music discovery process for me, going back long before there was Twitter or Facebook or even MySpace. Who else remembers ROCKNET and UKMUSIC on CompuServe back in the mid-90s?

It’s not necessary to be able to hear the music online although there are plenty of bands I’ve discovered via sites like last.fm. I’m one of those people who will buy a record unheard based on recommendations from a trusted source. I think the collective opinions of a significant number of music fans is at least as valid as those of professional music journalists, and less likely to be influenced by music biz politics.

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Karnataka, Colston Hall, Bristol

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New review of mine on Trebuchet Magazine of Karnataka at Colston Hall in Bristol. Photos in the review are mine, but the embedded videos of an earlier lineup of the band were not my choice – I’m blaming the editor for that one!

I’ve uploaded a few more photos from the gig. They’re not my best, since the lighting could be described as “challenging”. Was using my f1.4 50mm virtually the whole time.

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Chris Squire – The Simon Cowell of Prog?

Sometimes it’s not always evil record labels who behave badly towards others. Fans of Yes know how singer Benoit David stepped aside due to voice problems, and his temporary replacement Jon Davidson of Glass Hammer became permanent.

Benoit David’s press release does give the impression he’s been treated rather shabbily.

I was then pleased to learn that Jon Davison would be my replacement as he is an accomplished musician with a fine voice.

I subsequently learnt, from a band member’s interview, that I had officially left Yes and that my departure was permanent.

Now, I did like “Fly From Here”, and even gave it a favourable review. But now they’re giving every impression that they’re in it solely for the money.

I nearly went to see them at the Hammersmith Odeon last November. But the date clashed with The Heather Findlay Band at The Brook in Southampton the same night. Despite having tickets for two other dates of Heather’s tour, I decided I’d rather see a band playing for the love of music than a bunch of has-beens who were only interesting in topping up their pension funds.

I think I made the right decision. When it comes to art vs. commerce, Chris Squire is on the same side as Simon Cowell.

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Delain Fall Victim to Cloth-Eared Bean Counters

Some people question why I frequently describe the major labels as being run by cloth-eared bean-counters. It’s because of things like what’s just happened to Symphonic metal band Delain.

You finish your album, and then you don’t know when the release is. But you know that fans are waiting for it. We were so satisfied with the album, and also our producer was satisfied. But some executive nut-case just doesn’t get it, and decides: “Well, let’s not release it.” Other people do get it, and right now, they are talking about how and when to release it. It’s a nightmare! We don’t have control over it, and at the moment, we can only wait.

It’s an old story. Delain were signed to Roadrunner, who got taken over by Warners. Who, if their head-in-the-sand attitude towards digital licensing is anything to go by, show every sign of being the most clueless of the majors. As so often happens with this sort of takeover, Warners fired many the people who the band knew and trusted, and now they’re sitting on the record. Maybe they haven’t got anyone left who knows how to market a band the major label probably would never have signed in the first place. Blogger Ronnie Soo has even speculated that they want to re-mould the band’s singer Charlotte Wessels as a radio-friendly pop star, and ditch the band.

This sort of crap happens a lot with the majors. They give every impression they’re run by marketeers and accountants who’s most significant characteristic is that they are not passionate about music. Yes, this sort of thing has always gone on, but in the days of social media when bands can communicate directly with their fanbase, it’s harder for labels to pull this sort of dick move and get away with it.

This is why I had some serious mixed feelings when I heard that two bands I know had recently been signed. I hope and pray that the bands knew what they were doing, and scrutinised the small print of the contracts carefully, so that they and their fans never get shafted the same way.

Some bands forget that “The guy they trust” in the label when they sign might not be around for the duration of the contract, especially if the label they signed to gets eaten by a bigger one. I’d advise any band signing a record deal (and their lawyer) to work on the assumption that, however friendly the label guys seem, they *will* try to screw you, and make sure the contract is watertight. In the worst case they need the option to walk away without the label being able to hold their record hostage.

Hopefully Delain will be able to release the album, and find a label they can continue to work with. Sadly, and cynical as it may seem, if Warners are really only interested in nothing but money, it’s in their interest for Delain to split up rather than sign to another label. Less competition.

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Steve Wilson on Prog’s Stockholm Syndrome

In a great interview with Steve Wilson, along with talk of his most recent album “Grace for Drowning” and a lot interesting thoughts on the present and future state of the music industry, he touches on the image of progressive rock world.

We’re living in a time when a lot of bands are looking around and seeing that the climate has changed so much over the last 20 years. Many feel the right thing to do is perhaps go back and revisit what made their reputation. Yes famously did a return to that last year. For 20-30 years, classic progressive music was incredibly unpopular and unfashionable. I was talking to Steve Hackett about this. He feels for the first time that people actually appreciate the work he did in the ‘70s. He feels it’s only in the last three or four years that he’s begun to feel people value that work as his greatest achievement. For 30 years, he was told it was shit, that he was a dinosaur, and that the music was worthless and no-one was ever going to want to listen to that hippie stuff again. I cannot underestimate how these guys were brainwashed. Robert Fripp and Ian Anderson feel the same. They were brainwashed by the media into thinking everything they did in the ‘70s was worthless junk. It’s almost like abused child syndrome. It took a great amount of reassurance for them to begin to believe that people love that stuff and that it’s the work that their reputation will ultimately rest on.

This is what I’ve been saying for years. In 2012, nobody cares what punk-era hacks like Paul Morley, Tony Parsons or Julie Birchill think any more; their opinions have not stood the test of time, and they haven’t been “relevant” for years. Yes, a few ignorant music journalists who were in nappies where Johnny Rotten swore on the Bill Grundy show still parrot ignorant clichés from that era, but they’re increasingly a minority, and they’re far more likely to be called out for not knowing what they’re talking about.

As for progressive musicians, the cage is not locked, and the jailers have gone. There is no need to pretend they’re “not prog” because of the alleged stigma attached to the genre. So let us have no more of the nonsense about any musician having to completely disassociate themselves from “prog” because it would damage their career.

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Another Celebrity Death

So we awoke this morning to the news of Whitney Houston’s death at the age of 48. While I’ve never been a fan of her genre of music, it’s still yet another life cut far too short and another great talent wasted by substance abuse.

In the last few years I’ve got to know quite a few members of various bands, so celebrity deaths come just a little bit closer to home for me. I pray this never happens to anyone I actually know. Makes me wonder if the price of success and fame is too high for some people.

I really detest the way the celebrity fame machine all-too-often chews people up and spits them out, like Aztec deities demanding blood sacrifices. Worse still is the way some pundits glamourise self-descructive behaviour as somehow “rock and roll”. I’m unrepentant about some very harsh things I’ve said in anger about one particular Guardian music critic over things he said about Amy Winehouse before her tragic but all-too-predicable early death.

I can certainly name of a few artists who’s work I admire who give the impression that they’ve gone very close to the abyss and only narrowly avoided falling in.

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The Ghost Moon Orchestra

As announced on The Mostly Autumn News Blog

Mostly Autumn are very proud and excited to announce the pre-sale of the special edition of their new album…

The Ghost Moon Orchestra.

The special edition will be limited to 2000 and will consist of, as well as The Ghost Moon Orchestra; a second album entitled A Weather For Poets, which will be an acoustic album with some new and some re-worked Mostly Autumn songs.

“Some songs, which don’t fit the ‘vibe’ of the main album, but work beautifully as acoustic songs make this special edition album the ideal place to showcase them. Also some Mostly Autumn songs work really well acoustically and again, this is the ideal way to put a different slant on them. I hope you will enjoy it.” Bryan Josh

This special edition is on sale at £20.00 (plus P & P) only from Mostly Autumn records and we hope to be shipping it late May/early June.

Their previous album “Go Well Diamond Heart” saw the band bounce back strongly for the first record with Olivia Sparnenn taking over on lead vocals. With a stable lineup that’s gelled strongly over the course of three tours in the past eighteen months, I have very high expectations for this album.

After the disbanding of Iain Jennings’ band Breathing Space, it will be very interesting to see how much he contributes to Mostly Autumn’s songwriting on the new one. Is “Ice”, the song he co-wrote on the special edition of the last album a taste of things to come? I hope so.

As an independent band not dependent on a record label, Mostly Autumn fund the recording by pre-orders, so if you want to support them, go and order the album now rather than wait until June to buy it!

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