Music Blog

All the music-related posts gathered together in one place.

Matt Stevens – Lucid

Matt Stevens - LucidGuitarist Matt Stevens is already well-known both with his live looping as a solo artist and as lead guitarist of the instrumental four-piece The Fierce And The Dead. His previous album, 2011′s “Relic” focussed on his looped acoustic guitar, while his band emphasised interlocking electric guitars. His new release “Lucid” has moments of both, but this record sees him move forward into more diverse sonic territories than either.

The album features a strong cast of supporting musicians, including King Crimson’s Pat Mastelotto, Jem Godfrey of Frost* and violinist Chrissie Caulfield alongside a host of others. Matt’s influences range from post-punk through progressive rock to extreme metal, and you can hear all of those on this record.

Like everything he’s done before, this is an album of instrumental songs rather than of guitar chops. It’s not about widdly-woo lead, with the sole exception of the King Crimson-like “Ascent” where he cuts loose with a quite astonishingly fluid and off-the-wall solo. It’s as if Matt is saying he can shred with the best of them if he wants to, but finds instrumental composition more interesting than technical showboating.

The whole thing is immensely varied; there are delicately melodic acoustic pieces alongside denser electric numbers built around heavy distorted riffs. On “Coulrophobia” Jon Hart’s spooky vibraphone adds an extra dimension to the layered tapestry of acoustic guitars. All but one the songs are short, most hovering around the three minute mark. The one exception is “The Bridge”, a kaleidoscopic epic that covers most of the ground of the rest of the album in its eleven-minute length.

The whole thing is an ambitious and varied work that defies easy genre pigeonholing. Matt Stevens has been one of the more interesting, innovative and genre-busting artists in the contemporary progressive scene for a while now, and this album sees him raise his game to a new level.

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Anyone else think “The Flour Kings” would be an excellent name for a Fields of the Nephilim tribute band?

Posted on by Tim Hall | 1 Comment

John Wesley – Disconnect

John Wesley - DisconnectJohn Wesley is probably best known as the touring guitarist for Porcupine Tree, and before that a sidesman for Fish. But he’s also had a parallel career as a singer-songwriter, and “Disconnect” is his latest album.

There’s little of Porcupine Tree’s Floydian atmospherics on offer here, this is more an album of guitar-shredding psychedelic hard rock. While it’s the noisy in-your-face guitars that immediately grab your attention, repeated listens reveal there’s some solid songwriting there too. Wesley keeps a foot in both the singer-songwriter and guitar hero camps, and the songs are far more than mere vehicles for guitar pyrotechnics. While he’s a better guitarist than he is a singer, the vocals are strong enough that it doesn’t suffer from the sort of weak vocals that let down many albums by guitarists-turned-singers. This record isn’t short of understated melody.

But ultimately this is still a guitarist’s album, and his playing is raw and visceral. There are occasional hints of Richard Thompsons’ style of electric folk-rock on one or two tracks, in other places there’ some of Neil Young style of dirty amplifier-destroying distortion. His fluid soloing avoids clichéd blues or prog styles. It’s not quite all played on Eleven; while it is a loud, noisy record there are also moments of delicacy and enough dynamics to avoid things becoming too one-dimensional.

Other contributing musicians are the rhythm section of Patrick Bettison on bass and Mark Prator on drums, and a couple of solos from guitarist Dean Tidy. They are no keys, although the multiple layers of guitars would need more than a basic power trio to reproduce live.

Highlights include “Any Old Saint” with its face-melting riff, anthemic chorus, lengthy solo and delicate outtro, the driving riff of “Once a Warrior”, and the blues-flavoured ballad “Mary Will” with some very Robin Trower like guitar tones. But there isn’t really any filler on this record. If you like your guitars loud and dirty as well expertly-played, then this record is strongly recommended.

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HippyDave on Kate Bush

Good blog post by HippyDave about Kate Bush

Kate re-invented – possibly even invented – the possibilities for a female singer-songwriter ….  it also impressed on me early on that female vocalists could be more than eye-candy (a mindset that sadly all too many people – males and females alike! – can’t get past), and that songs could address weightier concerns than, say, how wonderful one’s partner was, or how important it was to get down tonight.

Regular readers of this blog will know that female artists feature heavily, and I would be very surprised if Kate Bush is not a significant influence on every single one of them.

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The Physics House Band

This lot were on of the highlights of Friday of HRH Prog, some incredible musicianship although they’re all ridiculously young. This starts slowly, but goes completely bonkers about two minutes in.

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HRH Prog 2

Crimson Sky's Jane Setter at HRH ProgJane Setter of Crimson Sky

HRH Prog 2 is a residential rock festival held in this year the former Butlins holiday camp at Hafan-Y-Mor just outside Pwllheli in north Wales, following on from the successful first festival held in Rotherham a year ago.

It’s certainly a long way from anywhere, at the end of miles and miles of single-carriageway roads winding through the Welsh hills, or an equally winding single-track railway line, and it certainly wasn’t the organisers’ fault that part of the train journey was by replacement bus because the tracks had been washed away in a storm. There were complaints from some quarters that it was an inconvenient location. But it was an equal opportunity inconvenience; it takes just as long wherever you’re coming from. Continue reading

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Arch Enemy – War Eternal

Something a bit metal – the new single from Arch Enemy

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What Killed Last.fm?

lastfmWith the news that last.fm is shutting down their streaming online radio, I’m wondering exactly what changes in the music environment have forced them to rip the heart out of their service.

Are the majors demanding too much in licencing fees for the thing to be viable? Remember that it’s not stream-on-demand in the style of Spotify, so it should not cost as much. Or, more cynically, did last.fm’s major label owner deliberately decide to kill what had once been a useful music discovery tool because they don’t like people discovering independent music?

Or maybe last.fm has just had its day? Back in the days before their radio went behind a subscription paywall I used to listen quite a bit, and it played a lot by independent bands. That fed into a lot of CD purchases, and I spent a lot of time curating the wiki entries for bands. But nowadays a combination of social media and sites like Reverbnation and Bandcamp seems to be filling that role. The social side of Last.fm has more or less faded away as Twitter and Facebook have grown, and they never did resolve the artist disambiguation issue in their database.

All last.fm really does now is scrobbling and statistics collecting, and I’m not convinced that has much value unless it’s feeding into some sort of music recommendation that last.fm itself no longer provides. Yes, I know they’re still got a web-based music player, but all that does is play YouTube videos, and is not fit for purpose in it’s present form; too many of the videos are abysmal-quality fan-uploaded mobile phone footage from gigs, or worse, bedroom karaoke performances that don’t feature the actual artist at all.

Does last.fm’s scrobbling data still have any value for independent artists now, or is it time to stick a fork in the site?

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Good luck to all of you trying to get hold of Kate Bush tickets when they go on sale today. No, I’m not joining the feeding frenzy myself; I find the things like this far too stressful. Instead I will continue to support the grass-roots music scene.

Posted on by Tim Hall | Comments Off

Hipster Prog? No Thanks!

Huffington Post’s William Higham asks if Prog Rock is the new Folk, and pens what has to be one of the worst music articles I’ve read on the interwebs for a long, long time.

When you read nonsense like this, it’s clear you’re facing someone who seems to think it’s 1994 rather than 2014

So, prepare to guffaw now when I suggest what the next wave of music and culture looks set to be. Are you ready? I believe it’s prog rock … (Okay, perhaps the headline spoilt the surprise). Yes, progressive rock. The kipper tie or puffball skirt of music. The genre that brought us Genesis and Jethro Tull. A genre so embarrassing to talk about that, in a recent documentary, Prog veteran and regular Grumpy Old Man Rick Wakeman likened it to pornography: *lowers his voice* “here mate, you got any, erm, prog rock?”

It gets worse…

This lot grew up on the Lord of the Rings and Harry Potter. Game of Thrones? It’s like a Yes album sleeve come to life. Meanwhile, technical skills are being lauded. In an Emeli Sande-loving, talent show-filled, post-Strokes world, “they can actually play/dance/skate/dive” is a compliment not an insult. And what could be more fashionable right now than long greasy hair and double denim?

His failure to name a single new prog act demonstrates that he’s not only totally ignorant of the current grass-roots scene but too lazy to do even the most basic of research. No mention, for instance, of Steve Wilson’s ability to fill The Royal Albert Hall. Or the strong and undenied prog influence in bands like Elbow or The Decemberists.

And, for the love of God, spare us the prog equivalents of Ed Sheeran and Mumford & Songs, where were never “folk” in any meaningful sense of the word anyway. I would rather we didn’t see bands dressed in capes and wizard’s hats playing pedestrian indie-rock playing three chords on a Mellotron “ironically”.

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