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Fish On Friday - Black Rain CD (album) cover

BLACK RAIN

Fish On Friday

Crossover Prog


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Matti
PROG REVIEWER
5 stars I'm saddened by the minimal amount of attention for this wonderful band from Antwerpen, Belgium. Not only this latest album has remained unreviewed, but there are only five PA reviews in total, as many as they have released studio albums since their formation in 2009. Yeah, it's debatable if Fish On Friday is a progressive rock band in the first place, but does it really matter? Their music is melodic, very accessible and catchy pop-rock with a prog flavor and I enjoy them to a great deal. My acquaintance with their other albums is incomplete, but I daresay that on Black Rain the band is at their strongest.

The frontman Frank Van Boegart is responsibe of vocals, songwriting, keyboards and additional guitars. The main guitarist Marty Townsend seems to have a blues background (which isn't very audible here), while the most acknowledged member of the quartet is the British bass/Chapman stick player Nick Beggs who joined the line-up for the third album Godspeed (2014). Beggs has played in Kajagoogoo, Iona, The Mute Gods, Lifesigns plus bands of both Steve Hackett and Steven Wilson, so he's pretty known in modern prog circles. But it's definitely the singer- songwriter that deserves the biggest kudos. For starters, Frank is an excellent vocalist. His voice is warm and sensitive, comparable to Paddy McAloon (Prefab Sprout) and Nick Magnus (Steve Hackett, solo). Oh, nearly forgot to mention that Frank Van Boegart also produces the music and does it truly excellently. Without a hesitation I make a reference to Alan Parsons. The sound is clear, dynamic, organic and easy on the ears in a good way.

When I say that all these eleven songs are highly pleasant, I don't mean the album would be overtly mellow pop missing some kick and grab. On the contrary, it may be sharper than the earlier albums. Sonically it's not difficult at all to consider it as Crossover Prog. The songs do not stretch the compositional structure very radically, but nor they fall into the trap of refrain-chorus-refrain-chorus-bridge-chorus. 'Murderous Highland Highway' is the longest at eight minutes without notably sticking out as a prog highlight in my reception, simply because other songs are mostly equally successful. The title track is a good example of the effective, positive catchiness in this band's music. The female & male background vocals throughout the album work nicely, and the special guest Lula Beggs appears more upfront on some songs such as the ballad 'Letting Go of You', where one also hears soprano sax and clarinet of Theo Travis (Soft Machine, King Crimson, The Tangent, Steven Wilson,...). The closing piece 'Diamonds' is nearly a duet with Lula.

By looking at the few previous reviews for Fish On Friday here, I guess the most easily spotted shortcoming could be worded as "more of the same". Perhaps so, since they were very good right from the start and had found their own style. I notice that I enjoy this album more and more with each listening, so I feel justified to give a full rating. Instead of being "Essential: a masterpiece of progressive rock music" (obviously not, I know!), this is a wonderfully written, produced and performed album of prog-pop, and warmly recommended to all friends of melodic, modern Crossover Prog from Steve Hackett and Nick Magnus to It Bites and Lonely Robot -- especially if you also have a good time with sophisticated pop like Prefab Sprout and Tears For Fears.

Report this review (#2696245)
Posted Wednesday, March 2, 2022 | Review Permalink
4 stars Prog with pop sensibilities, or is it pop with prog sensibilities? Which ever the case, this is quite an accomplishment. And it's timing was impeccable, early in the covid shut down, a time of great darkness and depression for many. Here is a group of songs that for the most part are encouraging and positive, just what was needed! I have been wanting to comment on this for a while but haven't had time until now. This was, and remains, a go to disc when I want an emotional pick me up.

So, is it prog or not? It's here on the site, so I will go out on a limb say yes! Still, I guess it depends on your perspective. You can't deny that these songs have hooks that will create ear worms that are hard to get rid of ? very pop oriented. The vocals are pleasant and easy to listen to but nothing to extreme or challenging. The lyrics while not profoundly deep are enjoyable and compelling enough. But, this for the most part is not pop in the sense of top 40. These songs are musical journeys with changes in tempo, instrumentation, and good stretches of instrumental creativity, hence the more prog oriented side.

The first four tracks come bolting out of the gate like race horses determined to win the roses. Not that they are particularly fast, but they have intensity and creativity that is hard to resist, each one getting slightly faster and more intense than the one preceding it. It easy to see that this will be an engaging listen to follow. So some brief thoughts on the tracks:

Life in Towns: A thought provoking treatise on the disconnect of humanity towards one another, very pretty song, nice piano and guitar work with underlying synths that build up to a spoken word break mid way, and then grows in intensity to a big finish. The theme of this song seems all the more powerful given the isolation created by covid. (10/10 for being more prog oriented)

Murderous Highland Highway: This starts soft and builds up lyrically with instruments coming in gradually and then lifting it up as the tempo takes off. The beginning of this has a familiar 80's new wave folk edge that sounds familiar and welcome but you can't quite put your finger on it. This has nice central instrumental section with chorus in the background, breaks back into the lyrics and builds up to final guitar supported finish. Another big winner. (10/10 for being more prog oriented)

Black Rain: This is of course the title track, and it picks up the pace straight away. Breaks into lyrics. The opening piano comes off almost like an upbeat Elton John song from his early days, guitar quickly joins, and then comes the lead vocals with strong up front chorus singing in competition. Big tempo, nice guitar work, again, upbeat in nature. (9/10 for being more pop oriented)

Mad at the World: Starts with irregular synth notes, backwards, perhaps? Followed by piano and climbs into another mid tempo track. Lovely vocals, beautiful guitar, very pretty song. It would be hard to not like it! (9/10 for being more pop oriented)

Letting Go of You: Starts with pensive piano, soft vocal, then gives way to first female lead vocal. A nice duet which totally changes the direction of the previous four tracks. First half is a pretty straight forward ballad, but picks up in the second half with some brass, saxophone perhaps? Not a bad track, but not up to quality of the previous four. Does have a nice guitar finish for the last minute and a half. (7/10 definitely more on the pop side of the fence)

Angel of Mercy: Another big song that just draws you in emotionally, moderate pace but just strikes a chord that makes you feel good. So accessible and yet it has a lovely prog undercurrent that makes you wish it was even longer (10/10 so good!)

We've Come Undone: This one begins with a darker soundscape, synthesized vocal initially, and then continues the male & female duet style, but more upbeat, with the chorus over the top. Builds to a nice finish (8/10 not as pop this time)

Morphine: A short mostly instrumental track, with nice rhythm guitar over what sounds like slide guitar. Good atmospheric sound scape (9/10 proggy enough)

We Choose to be Happy: Okay, this one. Well. Pretty shamelessly pop. Yeah, can't really make a case for this one. This was a skip track for quite a while, but eventually just gave into it. Really, who doesn't want to be happy given the state of the world? (6/10 this is a prog site after all...)

Trapped in Heaven: A slow starter, but pleasant soundscape, ballad but builds up to big guitar finish. A much needed sharp contrast to the previous track as it is darker and subtly intense. Nice track. (8/10 more proggish again)

Diamonds: Closing song starts as a ballad, seems a bit anticlimactic, although very pretty, but half way in begins picking up intensity, building, building, okay, actually it's pretty great, and a nice finish. (10/10 just because...)

In general, the first half of the album is more creative, proggy, and stimulating, but all in all, I still enjoy playing the whole thing. Given the opening issue of whether it really is prog or at least prog oriented, each person has to decide for themselves. If you like extreme musical meanderings, intense vocals, and darker themes, this is definitely not for you. But if you enjoy a little prog-light occasionally, this is a pleasant cross over that is worth checking out. Guarantee that one or two of the choruses will go home with you.

Total score for me: 98/110 Good enough for 4 stars

Report this review (#2785237)
Posted Wednesday, August 17, 2022 | Review Permalink
BrufordFreak
COLLABORATOR
Honorary Collaborator
5 stars It's amazing how many beautiful, high quality albums sneak beneath the radar each and every year. This is one of them: an album of pure pop-prog ear candy in the same pool with ALAN PARSONS PROJECT and TONY PATTERSON's 2016 masterpiece, Equations of Meaning.

1. "Life in Towns" (5:45) a pensive song of pure ear candy. Even the spoken word passage at 3:30 is reinforced powerfully with the amped up multi-voice chorus right after. Great 12-string strumming reminiscent of AMERICA's "I Need You" and so many of the songs on Tony Patterson's Equations of Meaning. A top three song. (9.5/10)

2. "Murderous Highland Highway" (8:13) such amazing ear candy! Undeniable! I love the R&B "doo-wop" background vocals during the awesome instrumental passage from 3:40 to 5:30 and how it's helping to anchor the heavenly music during the album's best guitar solo. My favorite song on the album. (15/15)

3. "Black Rain" (4:53) a little too saccharine and with less heart-tugging hooks than the opening two songs. Still, Nick Beggs is such an underrated bass player. (8.75/10)

4. "Mad at the World" (4:57) an interesting pop song with 12-strings and APP-like lead vocals. Nice chord change hooks between the verses and the choruses and back. (8.875/10)

5. "Letting Go of You" (6:48) a gentle, country/folk-tinged guitar song featuring the vocals of Nick's daughter, Lula, in the lead department. It's decent--especially as it builds over time. Somehow it reminds me of Train's song "Calling All Angels." (13.125/15)

6. "Angel of Mercy" (4:48) another song that reminds me of the AMERICA-like songscapes created by TONY PATTERSON for his 2016 masterpiece, Equations of Meaning. It never quite reaches the same heights as Tony's work but it's nice. (8.875/10)

7. "We've Come Undone" (5:08) cool opening with "lonely piano" with robot-effected multi-voiced vocals. The music ramps up for the chorus sections like Steven Wilson is prone to do. Cool effect when the bass tempo doubles and Lula Beggs takes over the lead vocal in the third minute. (9/10)

8. "Morphine" (3:08) pretty strummed acoustic guitar, keyboard, and bass weave supported by hi-hat and rim taps leading up to another TONY PATTERSON/ALAN PARSONS PROJECT-like vocal. Also cool electric guitar floating around in the background. (9/10)

9. "We Choose to Be Happy" (3:25) A song whose group singing approach for all of its vocals conjures up the hippie pop bands of the 1960s like the Mamas And The Papas. It's okay--though the lyrics are a bit too sappy, even for me. (8.5/10)

10. "Trapped in Heaven" (4:04) very pretty music and composition weighted down by the same whole group singing approach as the previous song (though I do not hear the presence of a female in this choir). All chord changes, instrumental play and palette as well as solos show a very seasoned and confident composer. Almost a top three song for me. (9.25/10)

11. "Diamonds" (4:22) pensive mathematic synth sequence on repeat opens this, providing enough fabric for Frank and his piano to start their parts. Nice to hear Lula in the background vocal choir. The music amps up beautifully, emotionally, in the second verse, leading to some great synth solo work as well as some awesome Lula Beggs wordless vocalise. My final top three song. (9.5/10)

Total Time 55:31

A-/five stars; a minor masterpiece of prog pop music--one that many prog lovers will fall in love with--especially the NeoProg crowd.

Report this review (#2953123)
Posted Wednesday, September 20, 2023 | Review Permalink

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