Music Blog

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Reading Festival Nostalgia

Reading Festival 1983

It’s Reafing Festival weekend. The streets of the town are full of people in wellies and the supermarkets contain stacks of cheap lager the size of Canary Wharf. It all reminds me of the last Reading Festivals I went to back in the early 1980s, when I was the same age as the people going now. Reading has always been a teenage rite of passage.

It’s a reminder of the fact I’ve been a Marillion fan for 33 years this weekend, after seeing them half-way ip the bill in 1982. They were back the following year as special guests on the Saturday night, opened with Grendel. They blew Black Sabbath and their fibreglass Stonehenge off stage. Little did I imagine their music would still be a big part of my life more than three decades laer.

It’s remarkable how many of the bands from the 1983 bill above are still around. I saw Marillion a few weeks back, headlining the Prog stage at Ramblin Man. Pendragon played the same festival. The Enid were at HRH Prog. Magnum, Pallas, Big Country, The Stranglers and even Man are still on the circuit.

This year’s Reading Festival bill includes Metallica, who have been around for 30 years. Can you imagine 1980s festivals having 1940s crooners and big band jazz on the bill?

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Motörhead – Bad Magic

Motorhead Bad MagicMotörhead are a British institution. Their name and logo have become so iconic that high street department stores sell their t-shirts to people who probably can’t name a single song with the possible exception of “Ace of Spades”. But after Lemmy’s recent health issues saw a tour cancelled not once but twice, and one or two lacklustre recent festival appearances, there have been doubts as to whether Lemmy is quite as indestructible as we thought, or that they are still the primal force they once were.

So, with their 22nd album “Bad Magic”, have the legends still got it after all?

“Victory or Die!”, growls Lemmy as they launch into the raw and dirty rock’n'roll of the opening number. “Thunder & Lightning” barrels along like a runaway train, then comes the driving guitar-driven hard rock boogie of “Firestorm Hotel”. Those first three numbers set the pace for the whole record. It’s true that Lemmy’s voice isn’t quite as powerful as it was in their 80s heyday, but the Motörhead still rock like a bastard even after all these years.

Other great moments include “The Devil”, with a suitably demonic guitar riff, and “Choking On Your Screams”, which falls on the metal side of the metal/hard rock divide with a particularly menacing vocal. The one change of pace is the slow blues “Til The End” where Lemmy drops his traditional gargling-with-broken-glass style and sings with a fragile, cracked vocal. The album ends with a cover of The Rolling Stones’ “Sympathy for The Devil” which doesn’t quite convince, but aside from that, Bad Magic is a remarkably consistent record. Phil Campbell is economical but effective with lead guitar work, and Mikky Dee makes his mark on drums, especially his fusillade opening “Shoot Out All The Lights” and on the Maiden-like “Evil Eye”.

You can argue all night about what genre Motörhead belong to. Lemmy has always denied they’re a metal band, but they’ve been considered honourable members of the metal tribe right from the start. There’s an awful lot of the attitude and fury of punk about them too, of course, but listening to this record you can hear deep roots in the rock’n'roll of the fifties and sixties that Lemmy grew up on. They, as much as anyone else, embody the primal spirit of rock’n'roll, turned up to Eleven. Motörhead are still here, and they’ve still got it. Rock and roll will never die.

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Spock’s Beard – The Oblivion Particle

Spocks Beard The Oblivion ParticleSince their emergence in the mid-1990s when the genre was at its lowest ebb, Spock’s Beard have become elder statesmen of the third wave of progressive rock. With their twelfth album “The Oblivion Particle”, the second to feature Ted Leonard on lead vocals, they show no signs of running out of ideas.

The sound is what we’ve come to expect from Spock’s Beard. swirling Mellotron and Hammond organ, blasts of hard rock guitar, rich layered vocal harmonies, and a strong sense of melody. If you imagine 70s British progressive rock married to the US West Coast sound with a bit of The Beatles thrown in for good measure, that’s Spock’s Beard’s distinctive musical identity. As ever they love their vintage keyboards which have become a signature sound for the band, and Ryo Okumoto adds a few vintage synth sounds to the sonic palette.

From the opening wig-out “Tides of Time” and the soaring melodies of “Minion” to the stately finale of “Disappear” this is a record that needs multiple listens before it really starts to come to life. There are times when it strongly recalls Yes, especially those moments where the instrumentation drops out leaving gorgeous a capella harmonies, such as on “A Better Way to Fly”. But this is a record with far more energy than anything Yes have done for decades. There is an exuberance about the whole thing; it’s the sound of a band who know what they want to be and enjoy being it. Perhaps the only thing missing from this album is a stripped-down ballad to balance out the rocker workouts. Something along the lines of Octane’s “The Beauty Of It All” might have lifted the record to the next level.

But once you’ve given it enough time to get under your skin, “The Oblivion Particle” is a highly enjoyable record. Spock’s Beard succeed in having one foot in the past and one in the present; a delightfully retro sound with a modern sensibility.

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Cloud Atlas, Bilston Robin 2

Martin Ledger of Cloud Atlas at Bilston Robin 2

Cloud Atlas don’t play live that often, especially outside of York, so it’s well worth catching them when they do. On Sunday 16th August they came to one of the temples of the grassroots rock scene, Bilston Ronin 2

Howard Sinclair at Bilston Robin 2

Support was singer-songwriter Howard Sinclair. He normally performs as a solo acoustic artist, but this gig was a rare opportunity to see him with a full band, which included Morpheus Rising’s Paul “Gibbo” Gibbons on drums.  The result was a highly entertaining set, the songs fleshed out with the addition of a rhythm section and some bluesy lead guitar but still retaining a stripped-back singer-songwriter flavour.  One highlight was “Bedsheets & Bad Luck” with Howard on piano and a great guest vocal performance from Wednesday S on the song sung by Touchstone’s Kim Seviour on record.

Heidi Widdop

Cloud Atlas began with by playing live what many other bands would have run as an intro tape, a long intro of low whistle and e-bowed guitar before Martin Ledger lauuched into the riff of “Searchlight”, the rock epic that defines Cloud Atlas’ sound; a huge guitar sound, soulful vocals, a strong rhythm section and great use of atmospherics. There were many moments where Martin Ledger’s melodic and fluid effects-laden guitar recalled the playing of Marillion’s Steve Rothery.

Heidi and Martin of Cloud Atlas

The set consisted of the album “Boyond the Vale” in it’s entirety plus the Stolen Earth oldie “Soul in a Jar” and a remarkable solo acoustic cover of Michael Jackson’s “Billy Jean” so radically reworked that it wasn’t instantly recognised. The material comes over powerfully live, played with fire and passion, and benefitted from the sort of clear sound we’ve come to expect from this venue.

Martin Ledger,  Rock God

They finished with an impressive “Stars” with its guitar-shredding climax, after which the crowd weren’t willing to leave without hearing more. But the band had no more songs, so Martin Ledger put it to an audence vote on what song we wanted to hear again. The choice was “Soul in a Jar”.

So finished a great gig by a band who really deserve a wider audience. They’ve probably reached the stage when they need more material if they’re to play headline-length shows. At some point there will be a follow-up to “Beyond the Vale” and there will be new songs in the set. In the meantime, perhaps the band should consider rehearsing an interesting cover or two to play as encores?

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The Fierce and the Dead – Magnet

TFATD - MagnetThough sometimes labelled as “post-rock” or the catch-all “alternative”, the instrumental four-piece The Fierce and the Dead are happy to describe themselves as a progressive rock band.

But unlike some bands under that banner, their mission is to make music in the spirit of 70s progressive rock rather than copying the sound. Their heroes include Voivod, Hüsker Dü and The Mahavishnu Orchestra rather the Pink Floyd, Genesis or Yes. The resulting noise could be described as “A punk version of King Crimson”, although that doesn’t really do them justice. Over the course of several EPs, one full-length album, and some pummelling live shows they’ve built a reputation as a band willing to take progressive rock into interesting new places.

The new EP “Magnet” is their first release since 2013′s “Spooky Action”. It starts with a bang with the big dirty riff of “Magnet In Your Face”, an explosion of rock’n'roll energy which packs a lot of music into less than two minutes. It’s Spooky Action on steroids. But from then on it chances tack. “Palm Trees” is slower but crushingly heavy, until the big wall of guitar gives way to a delicate middle section. “Flint” marries electronic effects and a dub-like bass riff with delicate chiming guitar. “Part 6 (The Eight Circuit)” begins with bass drones and effects-laden guitar until percussion loops appear.

The EP ends with rehearsal recordings of two numbers from “Spooky Action”, “Let’s Start a Cult” and the title track; there’s something of Alex Lifeson in the guitar playing on the latter at one point. There’s quite a contrast between these two numbers and the newer material that precedes them.

The Fierce and The Dead are not a band to stand still and repeat themselves. If Spooky Action had something of a punky, garage-rock vibe, Magnet is darker and denser, with more of a focus on the post-rock and electronica side of their music. Like all of their records, it has feet in many camps, defies simple categorisation, and makes a rewarding listen for anyone who wants to get out of their musical comfort zones.

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Cambridge Rock Festival open thread

Now CRF 2016 is confirmed, what bands would we like to see? I think we can all take it that Mostly Autumn are a given, but what other bands would make a good bill?

To set the ball rolling, a few names off the top of my head.

Bands who are part of the festival “family” who should be invited again:

Panic Room
Cloud Atlas
Chantel McGregor
Kyrbgrinder

Bands who have played once or twice who definitely ought to be invited back

Morpheus Rising
Also Eden
Karnataka

CRF-level bands who haven’t (to my knowledge) played the festival, but should

Knifeworld
Magenta
Mantra Vega
Anna Phoebe
Arena
Threshold

And some ideal “big name” headliners

Blue Öyster Cult
Michael Schenker
Riverside
Fish
Uriah Heep
The Damned

Over to you: Who would you like to see?

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Cambridge Rock Festival 2016 is on!

CRF from the airAfter taking a break in 2015, The Cambridge Rock Festival is back for 2016, at the festival’s established site of Haggis Farm Polo Club just outside Cambridge, on the 4th to 7th August 2016.

It’s a great festival for classic rock, blues and progressive rock, with undercover stages for when The Great British Summer does its worst.

Early Bird tickets are available right now!

As yet no bands have been announced, though I’d be very surprised if Mostly Autumn weren’t on the bill. Headliners in recent years have included Wishbone Ash, Magnum, Caravan, FM and The Enid.

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Cloud Atlas + Howard Sinclair at Bilston!

Cloud Atlas and Howard Sinclair at Bilston Robin 2 on Sunday August 16

The splendid Cloud Atlas headline Bilston Robin 2 on Sunday 16th August. It’s also a rare chance to see Howard Sinclair with a full band as support.

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Everything I know about the world of work, I owe it to Iron Maiden

So says Mat Davies on Medium

More than just having very loud songs that you could play very loudly, Iron Maiden opened doors to literature, art, greek mythology, nineteenth century poetry, science fiction, horror movies and military history.

Now, you can’t say that about The Smiths, can you?

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Universe on Fire!

The lead track from Gloryhammer’s second album, “Space 1992: Rise of the Chaos Wizards”.

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