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Jacco Gardner – Hypnophobia

Jacco Gardner HypnophobiaHypnophobia is the latest album from Dutch multi-instrumentalist and singer-songwriter Jacco Gardner. It features an array of vintage instruments including a Wurlitzer electric piano, a vintage Steinway, Mellotron and harpsichord, and even an Optigan. Gardner plays all instruments except for the drums, with keyboards and acoustic guitars as the dominant sounds, and lyrical themes cover the nature of dreams and reality.

The album opens with an eerie keyboard figure straight out of a 1950s flying-saucer movie leading into the psychedelic pop of “Another You”, a song with strong echoes of The Teardrop Explodes. Other highlights include the beautiful ripping arpeggios of the instrumental “Grey Lanes”, the lengthy “Before the Dawn” with its Motorik rhythms and shifting chord patterns, the combination of dreamy soundscapes and electronic dance rhythms of the title track, and the stately harpsichord-led closer “All Over”.

There are strong echoes of lighter side of Steve Wilson’s various bands across this record; “Find Yourself” wouldn’t have sounded out of place on a mid-period Porcupine Tree album, and parts of both the title track and the semi-acoustic “Face to Face” recall the sinister soundscapes of Storm Corrosion. But the marriage of progressive rock atmospherics with indie-pop songwriting also has a lot in common with Chris Johnson’s Halo Blind project, as do Gardner’s fragile yet melodic vocals.

Hypnophobia is an album that’s difficult to pigeonhole. It’s described as “Baroque pop”, and has elements of indie, psychedelia, pop and progressive rock, often in the same song. But none of those flavourings ever overwhelm any other, it goes from swirling layered atmospherics to stripped-down minimalism and back again. It all hangs together well as a coherent whole, and at just 40 minutes in length it doesn’t outstay its welcome. The result is an enjoyable work that draws from a rich palette of sounds and rewards repeated listens, with each play revealing further depths and subtleties.

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The Gentle Storm – The Garage

Anneke van Giersbergen at The Garage

The Gentle Storm came to The Garage in London on their tour promoting “The Diary”. The album is a collaboration between singer Anneke van Giersbergen, formerly of The Gathering, and composer and multi-instrumentalist Arjen Anthony Lucassen, main man of Ayreon and myriad other projects. It’s an interesting work, two disks comprising two different versions of the same set of songs, the acoustic folk-flavoured “Gentle” version, and the symphonic metal “Storm” version. It prompted considerable pre-gig speculation as to exactly how they were going to present it on stage.

The opening act was Streams of Passion, who began life as another of Arjen Lucassen’s projects before taking on a life of their own. They’re a band with feet in the progressive and symphonic metal camps. Aside from a brief but impressive mid-set burst of flying-V electric violin, and despite the twin guitars, Marcela Bovio’s powerful voice is Streams of Passion’s main lead instrument, as demonstrated by the long wordless vocal passage late in the set. It was a very strong performance for a support act.

The Gentle Storm began in the opposite manner to many other bands of their ilk. Instead of the now clichéd band kicking up an instrumental storm before the singer makes a dramatic entrance at the last moment, Anneke van Giersbergen stepped onto the stage alone to begin the album’s opener “Gentle Sea”, before being joined by the rest of the band. By the rocked-up celtic jig of “Heart of Amsterdam” they were in full flow, with Anneke on spectacular form vocally.

Arjen Lucassen isn’t part of the live incarnation of The Gentle Storm, though the seven-piece band does include Ayreon alumni Ed Warby on drums as well as two members of Streams of Passion, Marcela Bovio on backing vocals and dreadlocked bassist Johan van Stratum. Having both Anneke van Giersbergan and Marcela Bovio on the same stage made for a lot of vocal talent.

The early part of the set featured “Storm” versions from the album, with The Gathering’s “Eléanor” thrown in for good measure. The twin guitars of Merel Bechtold and Ferry Duijsens covered many of the orchestral lines with the help of guitar effects, reducing the need for pre-recorded backing that’s commonplace in symphonic metal. Though it would be interesing to know exactly what effects they used on some of Marcela Bovio’s vocal lines to make her sound like a full choir.

In mid-set there was an acoustic interlude, which began with an unexpected solo cover of Pink Floyd’s “Wish You Were Here”. Next came a spine-tingling stripped-down piano and vocal take of album standout “The Moment”, sadly marred by loud talkers (why do London idiots pay good money for a gig only to chatter away through the quiet bits?). Finally Marcela Bovio and Ferry Duijsens joined them for Ayreon’s “Valley of the Queens” and “Comatose”.

It was back to the full band for the finale, which included The Gathering’s “Strange Machines”, Ayreon’s “Isis and Osiris” and an epic keyboard solo to close the main set, with the Devin Townsend song “Fallout” and the Kashmir-meets-Stargazer eastern rock monster “Shores of India” as the encores.

In the end, though billed as The Gentle Storm and featuring the bulk of the album “The Diary”, it was really Anneke van Giersbergen’s show. Her charisma and remarkable voice dominated the stage throughout, and although the stronger numbers from the album came over well live, it was the older Gathering and Ayreon numbers that proved to be highlights of the show.

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The 2015 UK Marillion Convention

Steve Hogarth at the 2015 Marillion Convention

This isn’t really a review as such. Because by the end of each of the three nights there’s not much more you can say beyond “Wibble”. A total of seven hours of some of the most emotially moving and life-affirming music in rock, including the albums “Anoraknophobia” and “Marbles” played in full, and a remarkable greatest hits set on the last night.
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HRH Prog 3

Jessie May Smart of Steeleye Span at HRH Prog 3HRH Prog is now in its third year, and it’s second at Hafan-Y-Mor, the former Butlins holiday camp just outside Pwllheli in north Wales.

Pwllheli is a long way from anywhere, at the far end of a winding single-track railway line, and the train stops many, many times at little request stops where the train might only stop if you know how to pronounce the station. So by the time I finally got there after a whole day’s travelling I missed the opening band. But I did catch most of The Dream Circuit’s set, with a space-jam sound that owed a lot of Ozric Tentacles.

Knifeworld were the most eagerly anticipated band of the Thursday night. They opened with a brand new song which Kavus Torabi dedicated to his great friend, the late Daevid Allen of Gong. With his white and gold Gresch guitar, Torabi looks most un-prog, but with it’s Zappa-style horn orchestrations, psychedelic soundscapes and layered vocal harmonies the music is as progressive as it gets. There were one or two who didn’t ‘get’ what they do, implying they’re not “proper prog”, but it’s their loss. Knifeworld are the real thing.

Thursday headliners The Skys, hailing from Lithuania had a far more traditional prog sound, but were very good at what they did. They displayed some strong Floydian atmospherics at times, with a harder-rocking edge at others. They had a great keyboard sound with big washes of Hammond, and one guitar solo in particular was brain-melting.
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RIP Terry Pratchett

Pratchett DeathSo we all knew it was coming; like Iain Banks we’d known he was seriously ill and it was only a matter of time, but it was still a shock to hear the news of Terry Pratchett’s death at the age of 66.

Terry Pratchett was the most significant fantasy author of the past thirty years, certainly from a British perspective. Nobody other than perhaps Tolkien has cast a longer shadow over the genre, and Pratchett has produced a huge body of work. He’s crossed over to the mainstream with a readership well beyond the confines of science fiction and fantasy’s usual audience, while remaining hugely revered within fandom. The blurb of his books used to say he was sometimes accused of writing literature. That’s because he did. Although the majority of his books were comedies, Pratchett fiercely rejected the idea that comic was the opposite of serious. He could and did tackle many weighty subjects, and brought them to an audience Serious Literature could not hope to reach.

The vast majority of his comic fantasies took place in the Discworld, a vast flat disc on the back of four elephants on the back a giant turtle. His fantasy world was a mirror held up to our own; like much classic SF this enabled him to explore real-world issues from a position slightly removed. He tackled politics, economics, organised religion, race and gender, and did it without the preachiness of many a lesser author. He populated his world with so many memorable characters; Sam Vimes, unique as a comic policeman who’s actually competent, the witches Granny Weatherwax and Nanny Ogg, Moist von Lipwig, the convicted conman turned nationalised industry boss, and Death, the ‘anthropomorphic personification’ Pratchett managed to make into a sympathetic three-dimensional character.

Pratchett’s insights into human nature make his work valuable to all sorts of professions. Of the tributes I’ve seen online, Mike Talks has suggested some of his books are a must read for any tester just to challenge them, and to expand their minds. And Rev. Rachel Mann has not only named Granny Weatherwax and Nanny Ogg as inspirational characters, but suggests that “Equal Rites” and “Small Gods” should be required reading for anyone wanting to enter the priesthood.

If you haven’t read any Pratchett, you need to. If you’re not an avid fantasy fan I would recommend you avoid the first couple of Discworld novels starring the failed wizard Rincewind. “The Colour of Magic” and “The Light Fantastic” are picaresque journeys parodying corny fantasy clichés, and won’t work as well if you’re not familiar with the works being parodied. Start instead with something like “Guards! Guards!” or “Wyrd Sisters”, which introduce you to Sam Vimes and the witches.

And now he has met one of his best characters. I’ll let his Twitter feed have the last word.

(The image of Terry Pratchitt and Death came from Mike Talk’s blog, which does not identify the artist)

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Karnataka, Bilston Robin 2

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It’s been more than two years since Karnataka last toured the UK. Fronted by their third lead singer, former Riverdance singer Hayley Griffiths, the new-look Karnataka made a strong impression back in 2012. Extensive touring spawned the DVD “New Light”. Since then they’ve have spent most of the past couple of years in the studio recording a new album. But despite the length of time they’ve been away, they pulled an appreciable crowd for a Sunday Night on the fourth date of the “Secrets of Angels” tour.

The band the stage with a bang, opening the brand new “Road to Cairo”, a driving hard rock number number some people may have recognised since it appeared on the cover disk of Prog magazine ahead of the album release. Although Hayley promised they’d be playing the new album in full, for the first set the emphasis was on well-known favourites; a powerful “Talk To Me”, “The Right Time”, and an impressively rocked-up take on “Delicate Flame of Desire”, featuring some evocative guitar work from Enrico Pinna. A drum-heavy reworked intro heralded the lengthy “The Gathering Light” to bring us to the interval.

If the first set focussed on the familiar, the second half was almost entirely new, and this was where Hayley Griffiths really came into her own with material written to take full advantage of the remarkable power and range of her voice, as demonstrated by the operatic high notes of “Poison Ivy”. It was all very dramatic and dynamic, closer to the symphonic metal of bands like Nightwish than the ethereal sounds of their early days. They finished with the epic-length title track parts of which saw a return to the celtic atmospheric side of their music.

They encored with the lighters-in-the-air ballad “Feels Like Home”, with an a cappella ending, and it was all over, leaving you wishing for more.

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Karnataka were a great live band back in 2012, but this performance saw them raise their game to another level. Hayley Griffiths’ dramatic stage presence and stagecraft makes her the obvious visual focus of the band, and she’s more confident now in the role of rock frontwoman, even if her song introductions occasionally sounded a little stilted. Enrico Pinna has to be one of the most talented guitarists in any band of this level; reeling off magnificent cascading solos. And new drummer Jimmy Pallagrosi made a very strong impression; with his mop of hair and the storm he kicked up behind the kit he sometimes seemed to be channelling Animal from the Muppets.

Karnataka have gone through a lot of changes over the years; bassist and composer Ian Jones is the sole constant factor, and Enrico Pinna is the only other remaining member from the band that recorded their previous studio album “The Gathering Light”. But the way they reinterpret older material rather than attempt to faithfully recreate the originals should have long dispelled the idea that they’re any kind of glorified tribute band, and the emphasis on new material on this tour shows a band looking to the future rather than the past. While there were still one or two who preferred earlier versions of the band, finding this incarnation too bombastic, the newer harder-rocking Karnataka won over the vast majority of the crowd in Bilston.

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Farewell to The Reasoning

The Reasoning at Trinity Live in Leamington Spa

So Cardiff’s The Reasoning join Breathing Space, Stolen Earth and Crimson Sky in the roll-call of bands that I’ve travelled considerable distances to see who are now no more. I have often likened being a fan of bands at this level to being an away supporter of a lower-division football club; there’s a camaraderie with fellow-fans, and you end up staying in unfashionable places like Crewe, Swansea or Mansfield.

The Reasoning were one of three bands that emerged following the implosion of the original incarnation of Karnataka, a band I had loved on record but never had the chance to see live, and featured their original lead singer Rachel Jones (as she was then). I travelled down from Cheshire to South Wales by train the day after a hurricane to see their very first gig at The Uplands Tavern in Swansea back in January 2007.

They were still finding their feet at the time, but they still made a strong impression with a melodic twin guitar hard rock sound and three lead vocalists, enabling them to do interesting things with harmonies. I later saw them play a couple of stunning gigs at The Limelight Club in Crewe,and at The Point in Cardiff, when they gave the impression that they were hungry and going places. Not only were they tight but there was also a passionate intensity to their music. At one point, when they managed to get support spots for artists like Fish in sizeable venues, they looked as though they had a chance of breaking through to the next level.

They went through a lot of changes over the following years, which might have cost them some of that early momentum. They had started out as a six-piece band with Rachel sharing lead vocals with guitarist Dylan Thompson and keyboard player Gareth Jones. There was a short-lived seven-piece lineup featuring former Fish keyboard player Tony Turrell and additional backing singer Maria Owen-Midlane. Then they took the form of a slimmed-down five-piece band with Rachel as the main vocalist and Tony Turrell handling the male vocals on the older material live.

Although all the different incarnations had their strengths and their supporters, for me nothing quite equalled the magic of the early days when Dylan, Gareth and original drummer Vinden Wylde were in the band, and the first two albums “Awakening” and “Dark Angel” remain favourites.

Owain Roberts of The Reasoning at Bury MetI find it impossible as an outsider to imagine just how hard the still-unsolved disappearance of guitarist Owain Roberts in 2012 hit the band. For a while there was considerable doubt as to whether they would continue. They eventually regrouped with new guitarist Keith Hawkins to record what would be their final album, “Adventures in Neverland”. Although they’d announced they were working on a follow-up, provisionally titled “Horrorscopic”, the only live activity in the past two years bar a couple of warm-up gigs were their appearance at the HRH Prog in 2013, and what turned out to be their final live appearance at last year’s Trinity charity event in Leamington Spa. The cancellation of a proposed tour last Autumn and the indefinite postponement of the album meant today’s announcement that the band were finally calling it a day shouldn’t really be a surprise.

While it can be disappointing as a fan to see a band you’ve followed call it a day, sometimes you do have to recognise when something has run its course. Nothing can take away their legacy or their recordings. Sometimes the spirit of a much-loved band lives on in new bands formed by former members. And sometimes the creative forces behind a band take off in exciting new directions.

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TT?

Triang TT Class 31

Back in my teenage years I used to have a TT3 gauge layout. It was all dismantled when I went away to University, and when I returned to the world of model railways in my late twenties I switched to the more readily available N gauge. The track is all long gone, but most of the rolling stock, such as this class 31 diesel, survives.

TT3, three-quarters the size of the already extablished 00 gauge, was introduced by Triang in 1957. But sales never reached critical mass and production ceased by the late 60s, by which time the significantly smaller N gauge had appeared on the horizon. TT3 never completely died out, but has long become a specialised scale reliant on kits rather the 50 year old ready-to-run models. Even now you still regularly see TT layouts at exhibitions; there were two at the Eastleigh show last weekend.

It was a different case in the former East Germany, where TT became a popular scale in the days of Communism. Manufactured by Zeuke, who later became Berliner Bahn, and are now Tillig, it remains in production today. Just as in OO vs HO, British and German models shared a track gauge of 12mm, but have different scales, Britain’s 1:100 to Germany’s 1:120. The reason, as in the larger scales, is that it’s impossible to get a dimensionally accurate model of a British steam locomotive to go round corners, and having an underscale track gauge is the least bad compromise.

In recent years, other manufacturers have entered the 1:120 TT market, including Arnold, the long-established Gernan brand now owned by the British Hornby group.  Prompted by this, and by rumours that some of the original Triang tooling still exists, there’s been a long thread on RMWeb about the possibility of Hornby bringing back TT in some shape or form.

It’s not going to happen, and the realist in me knows it makes more sense for Hornby/Arnold to follow up their N Gauge Brighton Belle with more British N. Which is precisely what they’te now planning on doing.

But it’s always fun to speculate. If Hornby did venture into British TT, what should they make? And should it be 1:100 to match the old TT3, or 1:120 to be consistent with the continental models?

Were they to stick to the old 1:100 scale, I’d suggest models representing the same steam/diesel transition era as the old Triang range. The possible initial models might be the following:

  • Class 47 diesel
  • Standard class 5MT 4-6-0
  • Mk1 coaches, initially TSO, CK and BSK
  • 16t mineral, Vanfit, 5-plank Highfit and BR brake van

That’s essentially a cross-country secondary main line in a box. You could even sell the whole lot as a train set, perhaps with two of each wagon for a decent length train, along with a double-track oval. I chose the 47 as the most numerous diesel class, and the Standard Five because it ran on multiple regions.

Were they to choose 1:120, the fact that there already is a British outline ready-to-run locomotive in the shape of the class 66 diesel made by Hobbytrain suggests a very different approach. Instead of the mid 1960s, go for the present day. Start with a range of modern British loading gauge wagons that run on both sides of the channel; intermodal flats, Cargowaggons, Polybulks, steel carriers etc. If successful, then perhaps expand the range to include some British multiple units, perhaps a Voyager or 170.

But all this talk makes me want to get out my old TT3 stock and see how much of it still runs. I’ve considered both a small shunting layout using Peco HOm track (Designed for HO scale metre-gauge models), or just getting an oval of Tillig sectional track to use as a test circuit.

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Lonely Robot Launch Party

John Mitchell, Heather Findlay and Steve Hogarth

John Mitchell held a launch party Lonely Robot’s Please Come Home on Monday 23rd Feb at The Lexington in London. It was a star-studded event, with attendees including Steven Wilson, as well as the many musicians who’s guested on the album, such as Heather Findlay and Marillion’s Steve Hogarth (above)

Heather Findlay duetting with John Mitchell on

Although the event was laregly a meet-and-greet, John Mitchell did play a short acoustic set accompanied by Liam Holmes on piano, and joined by two of the guest singers who’s appeared on the album. Here’s John and Heather duetting on “Why Do We Stay”, one of the album’s highlights.

Kim Seviour singing

Touchstone’s Kim Seviour was the other guest on stage, for the song “Oublette”. The album, perhaps the first essential progressive rock album of 2015, was released on the day of the event, and you can read my review here.

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Lonely Robot – Please Come Home

John Mitchell - Lonely RobotJohn Mitchell is a well-known figure in the British progressive rock world, lead guitarist of both Arena and Frost*, and frontman for the current incarnation of 80s veterans It Bites. Now, after more than a decade as a member of multiple bands at the same time, he’s finally launched a solo project, Lonely Robot.

John Mitchell plays the majority of instruments himself aside from drums by Craig Blundell. Guest musicians include Mitchell’s Frost* bandmate Jem Godfrey appears on keys, and Marillion frontman Steve Hogarth who finds employment on piano on a couple of songs. Legendary virtuoso Nick Beggs also makes an appearance on bass and Chapman Stick. Likewise Mitchell handles the majority of the vocals himself, although he’s joined by guests including former Mostly Autumn singer Heather Findlay, Touchstone’s Kim Seviour and Go West’s Peter Cox. Finally, voice actor Lee Ingleby provides background narration right across the record.

The end result is a varied but hugely impressive album. It goes from dense guitar-heavy industrial prog-metal to gorgeous ballads to uptempo 80s-style pop-rock, with imaginative arrangements that frequently veer off in unexpected directions. There is plenty of fluid lead guitar, but this is an album about songcraft and atmospherics rather than a guitar-chops record, and Mitchell keeps the solos short and to the point. It’s all given the sort of clear and crisp production we’ve come to expect from anything John Mitchell is involved with.

Highlights include the guitar-shredding instrumental opener “Airlock”, the beautiful duet with Heather Findlay, “Why Do We Say”, the ambitious and kaleidoscopic title track, the somewhat Tangerine Dream-like “Are We Copies” and the soaring ballad “Humans Being”, featuring a guitar solo from Nik Kershaw. But this is one of those albums that doesn’t have any filler; every song has something to commend it.

While there are certainly echoes of It Bites and of Frost*, this record is its own thing, and despite the variety it hangs together very well as a coherent musical whole. The various guest artists all enhance the record without stealing the show, and the end result is the first essential record of 2015 from the British progressive rock scene.

Thus review also appeas in Trebuchet Magazine.

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