FANFARE & FANTASY

"Matters our actions, more than our years"

Having taken several decades(!) to release their first album, "Fanfare and fantasy" is Comedy of Error's second album in as many years. Since the release of "Disobey" in 2011, Bruce Levick has become a full band member, with John Fitzgerald also joining the line up. Fitzgerald joined late in the recording of the album, so his contribution is limited to backing vocals here, but he is now fully installed as the band's bassist. The founding trio of Joe Cairney, Jim Johnston and Mark Spalding remains intact, with Johnston once again writing all the material.

While "Disobey" was a landmark album of "neo-prog", "Fanfare and Fantasy" takes a more symphonic approach, the nine magnificent tracks here being carefully crafted masterpieces of the genre. While there is a wonderful familiarity in the style of the music, it is actually rather difficult to offer comparisons or to cite influences. At times there is a Pendragon feel in the lush keyboards, the superb lead guitar solos and indeed in the vocal style. At the same time though, one could mention bands such as Yes, Genesis, Camel etc., but all the while there is something different and refreshing about what we hear that offers genuine excitement.

In terms of the songs themselves, each stands alone as a symphonic masterpiece; collectively they form a truly wonderful whole. Lyrically too, Johnston has clearly spent many hours crafting each piece. "The cause" for example highlights the ubiquitous blight of religious divide. While the song clearly describes the problems that afflict his home country, the song remains the same the world over. The power and depth of the album, both lyrically and musically, is never more acute than it is here.

A cursory glance at the track listing by a prog fan may lead to a focusing on the three 9+ minute tracks but in reality all nine of the songs here are prog epics. Looking at the other long tracks though ("The cause" is mentioned above), "Fanfare for the broken hearted" makes for the ideal opener, building from a fine a cappella introductory vocal by Joe Cairney through every more uplifting lead guitar (Mark Spalding) and dazzling synth bursts (Jim Johnston). "The answer" closes the set with a suitably anthemic atmosphere, cumulating in an early Genesis style mellotron finale.

"Time's motet and Galliard" is interesting in that it is a two part piece with a traditional feel. The first part, "Time's motet" is a delightful instrumental, apparently dothing a cap to the 16th century composer Thomas Tallis. This becomes the folk influenced "Galliard", a fine Strawbs like number with mellotron style synths.

Completing the set, we have "Something she said", a 7 minute piece that sets out with something of a Yes feel, including Wakeman style organ. Here we are also treated to a wonderful blend of Emerson style keyboards and Pendragon-esque lead guitar. Try hard as I might to resist singling tracks out, this is a truly wonderful composition. "Going for a song" contrasts a distinctly upbeat melody with some decidedly stark lyrics. Johnston's Tony Banks like keyboard bursts punctuate the searing guitar and synth interludes and layers of chorale keyboards. "In a lifetime", "Merry dance" and "Remembrance" are the three shorter songs, but each nonetheless stands as a mini prog epic.

I am aware that I may appear to be overdoing the superlatives here. Believe me though, this is a truly special album. Anyone with a love of traditional prog would be well advised to partake of its delights, you will not be disappointed.

On Fanfare and Fantasy, Comedy of Errors do a decent job of capturing the early Marillion sound - heck, they even have the whole "glum character in a bedroom crammed with symbolic clutter" thing going on with the cover art - but happily this is only one influence on their sound. Jim Johnstone's keyboards not only sound absolutely gorgeous - in fact, the production and engineering on the album is excellent - but also incorporate a wider range of techniques than your typical neo-prog band, allowing Comedy of Errors to explore a wide range of musical territories. Joe Cairney's lead vocals also deserve a nod, showing as they do a flair for dramatic narratives worthy of Peter Gabriel or Fish whilst resisting the temptation to imitate either of them. Along with Galahad and Final Conflict, Comedy of Errors seem to be one of those neo-prog bands who've been slogging along for decades but are only recently flowering into their full potential, so I'll be interested to see where they go from here.

Avec tambours et trompettes.

The French saying for: 'With a Bang'.

Comedy of Errors is proving a lot with this record: they can play, they can sing, they carve marvelous melodies and they know how put it on tape. Ahead of the early Marillion they obviously love, they gone forward by injecting more and more of their digital print. Unlike other bands, Comedy is snooping more genres than the neo-progressive: I hear lushious symphonic movements a la Yes and Glass Hammer, neo-classical arpeggios (keyboard and guitar) and even medieval winks here and there.

You really get your head full of goodies with this album: catchy vocal and instrumental hooks, colorful keyboards (personnally my favorite aspect) and lushious art cover. If this is the future of independant recording, well, count me in. With this album, they're showing what they are capable of and won the difficult challenge of the 'dreadful second album'.

Comedy of Errors is one of my biggest hope for the future of the genre and they deserve a giant '#1 foam hand' for their effort!

Listening to this album makes me think of the Monty Python sketch where the old codgers are all comparing their childhood days and how the kids of today didn't know how well off they were. I first came across Comedy of Errors in the early Nineties, by which time they had already released some cassettes and were making a name for themselves in Scotland. But looking back twenty years it is hard to imagine that no-one, and I mean no-one, in popular media were writing about progressive rock, and the only way to find out what was going on was by going to gigs, buying fanzines, writing letters and talking to others in the scene. Yes, this was the time before the internet existed, and most of us didn't have email either. Back then I was spending quite a bit of time with Mark Colton (then just ex-Casual Affair, followed by Freewill, and now for many years Credo) which not only did wonders for my alcohol intake but ensured that I listened to some bands that otherwise I wouldn't have heard of. I am pretty sure that Graham Younger and the fanzine 'Blindsight' had some impact as well, while Keith Richardson also has plenty to answer for and between the three of them I got to hear one of C of E's albums quite a lot, and in particular the song 'The Student Prince, Part 1'.

Faced with the almost impossibility of getting media coverage outside of fanzines, it is no surprise that C of E faded away given that they were toiling at their craft in Scotland, which has never been widely known for their prog scene (yes, I know Fish is Scottish, and Pallas did make an impact while Abel Ganz also made an impression) and back then it was hard for prog bands to exist outside of the South, and in particular London. The underground scene was very insular and only those 'in the know' were privy to some stunning music and live performances.

But, thankfully the band are back in business with originals singer Joe Cairney, keyboard player (and songwriter) Jim Johnston and guitarist/bassist Mark Spalding being joined by drummer Bruce Levick and new member John Fitzgerald who has joined on bass but was too late to play on this album. Rob Aubrey was given the task of mixing and mastering this album, the second since they started playing again (I haven't heard the first). I was emailing Artur of MLWZ recently and said that I had yet to play this CD and he told me that I was in for a real treat when I did, so it soon made it to the player and I was transported. The only accurate description of this album is neo-prog, with loads of classic Marillion references, but that isn't really a surprise given that they would have had very similar influences themselves. They manage to come across as Gryphon in one number, while Kansas also have their impact, but all in all this is Comedy of Errors and I love it.

Great vocals? Check.

Harmonies? Check.

Musical hooks and interesting songs? Check.

Great musicianship throughout? Check and double check.

When it comes to the end of the year this album is going to be up there with Big Big Train for the number one slot in my mind. It just doesn't get much better than this. www.comedyoferrors.org

Comedy of Errors has arrived on my doorstep and even though I have been on a killer buying spree lately, I have really been salivating at the thought of getting my hands on this rather glowingly reviewed prog wonder. Every pundit has praised this up the wazoo and I was anxious to see and hear what all the fuss was about. So let me state for the record, that it will alter your anti-neo-prog convictions (if you should have any) and process them into a cell of solitary confinement with key thrown away. Once again, the notion of 'accessible symphonic' is perhaps a better term, as the Genesis "And They Were Three" sticker simply does not apply anymore. The playing is grandiose, the song structure certainly more stretched out in terms of instrumental composition, the keyboard playing luscious and magnificent (ooh, that mellotron sound!), electric guitar and bass phrasings are sumptuously complex and the drumming totally propellant. But it's the dynamics that truly astound, a constant and inspiring sense of adventure and discovery that has no boundaries or ennui. Throw in some absolutely excellent vocals from Joe Cairney (a perennial weakness in our beloved genre), sterling sound, pristine production and gorgeous packaging (blue is the color of prog!). Lyrical content is dramatic and politicized as it should be (they are Scots after all!), brilliantly conceived and passionately delivered. I mean you have to be mean spirited to knock this down, unless of course you wish to remain a narrow- minded fan boy, slavishly obedient to one party/band rule. I have a hard time not seeing this album as 1- a 2013 highlight and 2- a prog classic. I won't even venture in dissecting this masterpiece track by track, it's just not even necessary. Both Mark Spalding and Jim Johnston shine on their lead instruments, revealing a deep understanding of the timelessness of progressive rock, you can listen to this a thousand times and always find some new twist and mostly feeling that was not there earlier. That is the making of a slice of genius. I mean if the bigger boys (you know, the glorious ones, cough!) would come up with an album this elegant, pleasurable yet sophisticated, it would be hailed as a miracle. As such, I cannot recommend an album more, being converted the first time I heard "Time's Motet and Galliard", a symphonic-medieval piece that would make Gryphon blush with envy. Harpsichord and playfulness, very very British Isles. I could have gone on and one and write a 20 page essay on this jewel but I clearly see that there is no need!

A tremendous triumph and surely among the top contenders for album of the year. WOW! It's got everything a fan needs.

5 Make-believe and pomps

It's taken some time to get to know Fanfare & Fantasy before I felt sure of how to review it. Great sounds, incredible instrumentalists, pretty good vocalist(s), even okay lyrics, and fair production (the mixes often feel like separate tracks, the music lacks a cohesive "weave" or blending of the sounds). Where I find serious fault with this album--and all of its songs--is in the delivery: Each song sounds and feels like a whole bunch of ideas that have been patched together and not always very seemlessly, smoothly or pleasantly. Each time I've listened to F&F songs either individually or within the entire album I come away remembering nothing. No melody sticks with me, no message, no particular passages--and during the listening I find myself thinking things like, "how impressive the soloists are," "how familiar this sound, riff or passage is," or "how curious this change is/how awkwardly this flows." While I like all of the songs, I have no favorites--there is none that stands out or that I will keep on my Best of 2013 playlists. A 3.5 star album I'll rate up for the talent of the band's musicianship. Here's hoping these talented folk are able to blend their talents and sounds better into more cohesive, tapestry-like songs in the future.

Immediately Comedy of Errors are reminiscent of Marillion with Fish at the helm or even Peter Gabriel;s theatrical flair due to the vocal style of Joe Cairney. On 'Fanfare For The Broken Hearted' Cairney exudes the charisma of said artists though perhaps is closer to the style of Pendragon, Pallas or IQ. This is Neo Prog with the emphasis on Neo though it is not exactly surprising in terms of sound or influences. Even the front cover looks like Marillion met Pendragon for an art contest, however the music will appeal to the Neo Progger no doubt.

It took me a while to revel in the music but it does grow on the listener due to the infectious melodies and some exceptional musicianship, especially Mark Spalding's extended lead guitar solos howling over ambient Mellotron. 'Something She Said' is another melodic song with great lead and organ phrases. There is nice grand piano and a grandiose Hammond unleashing some 70s vibes. The sound is akin to Genesis at times and you have to love the happy Hammond sound of Jim Johnston.

'In A Lifetime' is next with Bruce Levick's drumming in perfect unison with Spalding's bass and rhythm guitar blasts. Cairney's vocals are easy on the ears and he sings of making time for things that matter , to say goodbye to the baggage that we carry, and "maybe now I'll get to find out who I am". This song has a soulful edge and is more melancholic than most songs on offer here. 'Going For A Song' is also gentle with nice harmonies and swooping Mellotrons.

'Merry Dance' has a happy vibe and upbeat tempo, 'Time's Motet and Galliard', is a Mellotron soaked spacey track, a Yes soundalike, 'Remembrance' is replete with classical piano, slow time sig, and heartfelt passionate vocals and lyrics, and the final track, 'The Answer', indulges in extended soloing with virtuoso performances on keyboards and guitar. There are many sections in this mini epic, from speed keyboard playing to a steady measured pace with Cairney's vocals reminding me of Geddy Lee at 7 minutes in. Overall "Fanfare & Fantasy" has some incredible musicianship and is quite a lengthy Neo album with an uplifting atmosphere and bright tempos. Recommended for the Neo Prog target audience.

An excellent album!

With their return in 2011 with "Disobey" I really got interested in Comedy of Errors, a band from the United Kingdom who saw the light back in the 80s, and came from the ashes a couple of years ago creating excellent music, neo-prog at its best. That's why in this 2013 I got interested once again in their new production, entitled "Fanfare & Fantasy", which I will review right away. If you like symphonic or neo prog with cool concepts, then you will enjoy this 9-track album that has a total of 66 minutes.

It kicks off softly with "Fanfare for the Broken Hearted" a song that by the way, can work as a hymn for people who has had a experience like this (broken heart) recently. The first seconds are just words but little by little the instruments enter and the music is beginning to build up structures. Of course, the work of keyboards is primordial here, creating the nuances and atmospheres that are brightly accompanied by guitars and Joe Cairney's great voice. After two minutes drums appear and the music simply flows, creating a very solid piece of progressive rock, which has different episodes, soft passages, emotional ones, faster moments, so it pleases everyone. "Something She Said" continues with this well crafted album, I say this because all the pieces are carefully composed and structured, they were careful with their decisions, that's why the album is so good. In this song the neo prog sound is always evident, but there are some passages where the music might turn more in the vein of the 70s symphonic, mainly due to the great use of keyboards. Worth mentioning that the songs are great with or without vocals, I love Cairney's voice, but I also love the instrumental passages.

"In a Lilfetime" begins with acoustic guitar in a soft way, then little by little keyboards and guitars join, and after 40 seconds the voice does the same along with the bass and after a minute and a half the music changes and becomes rockier, catchier without a doubt, but pretty cool. "Going for a Song" starts very charming, with a delicate sound, but a minute later the music changes, becoming vertiginous and with much more punch, a neo prog track in the wide sense of the genre. So here you will have almost 9 minutes of excellent music, showing off the compositional skills of the band. This might be one of my favorite tracks here.

"Merry Dance" is shorter but exquisite as well, here I love the guitar sound and how all the musicians gather and create a solid structure, whose main "riffs" are easy to remember; the drums are also great, as well as the keyboards as background. The following one is "The Cause" which has a somber 5-second start, and then it vanishes and a brand new passage begins with acoustic guitar and keyboards, so little by little the song flows and progresses, creating emotional moments in which the voice sounds louder, touching our nerves. But later, the music is faster, the emotions increase, one can feel powerful, like wanting to go out and run, run out from our cages, and this is how I feel due to the great performance in this song, especially keyboards and guitars.

"Time's Motet and Galliard" has a long keyboard start, and after two minutes the music changes a little bit but remains with the same essence. Actually, this song is clearly divided in two parts, the first one I assume is the instrumental, while the second begins just before the fifth minute, in the vein of Yes-Wobbler (a wide gap, actually) very symphonic, but soft, never bombastic. "Remembrance" is the shortest track of the album, lasting only 4 minutes. This is a soft song, a ballad-like track that will make you think and have a nice and relaxing time.

On the other hand, "The Answer" is the longest track with 10-minute length, and the final one. This song is simply amazing, wonderful, the best way to finish this excellent album. Here they do have a bombastic beginning, fast sounds, vertiginous moments made by the great keyboards, but here what especially caught my attention was the sound of the bass, the notes/lines the bass man plays are truly great, very suitable for the music. After the first minute the music changes, becoming softer and thoughtful, but a minute later it changes again and the full energy is brought back. But guess what, it slows down again, now with the vocals and the atmospheric keyboards, so here you will have a feast of changes that are the sum of what Comedy of Error's music is about, first class neo-prog.

I loved this album, and now I am struggling to know which of the two recent CoE album Is my favorite, because I also love Disobey. This album is highly recommendable for fans of neo prog and symphonic. My final grade will be 4 stars, almost perfect.

Enjoy it!

I purchased this early last year, mainly because some of the reviewers I most respected on the site were positively raving about it, and compared this Scottish outfit to a certain Mr Dick era Marillion. However, owing to a combination of factors, it found itself after a couple of listens consigned to the cd shelf, not to be heard again until the last week, or so. I picked it up again to remind myself of the reason it went away, unreviewed.

Firstly, let me say I do not really get the Marillion comparison. Indeed, on parts of the (overly) lengthy opener, Fanfare for the Broken Hearted, Joe Cairney reminds me far more of Ian Broudie, he of Lightning Seeds fame, and this is not meant disrespectfully, either. For most of the remainder, the Pendragon influence is so abundant, I had to remind myself that I hadn't put on an old copy of The Jewel or Kowtow by mistake.The opener reminds me as to one of the main reasons this cd was put back on the shelf. It is well played, suitably moody, and bombastic in parts, but awfully formulaic as well.

Something She Said wears its early 70's influences on its sleeves, and is noteworthy for Banks-esque keys a la Trespass, but also, and mainly, a rather beautiful lead guitar by Mark Spalding. My interest began to be slightly more piqued by this track, because it did rather take me back to those halcyon days in the 1980's when first hearing Pendragon and IQ.

Indeed, that is really what I take from the remainder of the album. It is most clearly a work of passion, well performed, and well produced, from a band who take as their lead the artists we now call neo-prog, but were, at the time, merely at the vanguard of a prog rock revival. I was there, and loved every second of it. What I feel with Comedy of Errors is that they have merely put out better produced stuff, not surprisingly given the 30 year gap, but there is absolutely nothing here which inspires or moves me. It is neo prog by numbers, albeit well filled in numbers. Take The Cause, a track which opens with huge promise lyrically and musically with a heavy hint of Celtic imagination and atmosphere, which, sadly, descends into something that can only be described as the noise of a band trying to out Trespass Trespass. When that passage morphs into a gorgeous lead guitar burst, I really found myself wishing as to what this band would sound like as a truly original outfit, because the nucleus is most certainly there, and this track proves it. Oh well, it took Pendragon a good three albums, I suppose.

Back on the shelf, I am afraid. Three stars for this, a perfectly good album, which you will find yourself thoroughly enjoying when playing, but a masterpiece? An album which is going to take the genre to ever new heights? No, not a bit of it.

It's a wonderfully crafted neo-prog album!

Comedy of Errors is not a new name for me but ...honestly I only knew this album very late or roughly around a month ago. It blew me away at first spin and I kept playing the album over and over with no sense or indication of getting bored with the music. Yes, it's a pure neo prog music they play here in this album and the music is very close with what Pendragon and not quite close with Marillion. It's really mind boggling from start to end. The opening track "Fanfare For The Broken Hearted" (9:06) starts off beautifully with powerful vocal of Joe Cairney and its ambient musical background in neoprog typical flow. There are no dynamic punch throughout the song but for sure there are beautifully crafted segments and transitions presented by the band from start to end especially with its inventive keyboard effects as well as thinly mixed guitar work. Vocal is the dominating factor in this track even though it is backed up beautifully with great composition. The guitar solo is really stunning and mixed softly in the music. It's a very cool opening track. really!

The next track "Something She Said" (7:17) continues with a kind of Van der Graaf Generator style but composed with simpler one so that it can be accepted by most music buffs. Again, the keyboard played by Jim Johnston plays significant role to shape up what an excellent compositions are - he sometimes maneuvers through a piano work to augment vocal line which still holds an important role. The semi staccato style combined with inventive keyboard work at the background have made the song sounds even wonderful and makes me willing to replay the song for the sake of ultimate enjoyment. Oh man ... I love the keyboard work as well as stunning guitar solo.

" In A Lifetime" provides me like a break with a nice opening of ambient keyboard and Hackettian guitar - but then the music provides a dynamic punch followed with a powerful vocal line that reminds me to Pendragon music. There are simple riffs as the music goes accompanying the vocal in relatively medium tempo style. There are nice breaks and transition pieces in this relatively short track.

"Going For A Song" starts off with guitar fills that reminds me to the style of Hackett followed with vocal line - makes the music flows in ambient style. The intro part is nice and it is a reminiscent of Genesis music. As the music moves into complex arrangements, the keyboard takes full responsibility to provide the rhythm section altogether with guitar work to accompany vocal line. Again I enjoy the intertwining roles of guitar and keyboard that are wonderfully played throughout the interlude parts. Mark Spalding is an excellent guitarist.

"Merry Dance" is relatively a short track but it has a very nice grooves and rhythm section that provide an excellent platform for the vocal to shape an overall melody line. The keyboard solo is also stunning during the transition pieces. Guitar is played differently right here. There are keyboard work that sounds like a mellotron at the background that makes the song like a vintage symphonic prog music. It's a nice song.

"The Cause" starts with a blast of music that suddenly goes silent followed with an ambient music comprises soft keyboard work and Floydian guitar solo. The vocal enters in the vein of Pendragon singing style. The vocalist has a great voce as well as excellent accentuation throughout the song. "They separate religion ...they separate the schools" he sings nicely. I think his singing style is really cool throughout this song especially when it is then followed with great guitar solo and nice keyboard at background. There are parts with a bit complex in terms of arrangements where the tempo suddenly change into a faster one with powerful singing, inventive keyboard work and excellent guitar riffs. The keyboard solo that follows is really cool. This might be the best track from this wonderfully crafted album! The bass player also given a chance to perform his solo as transition to a long stunning guitar solo (a bit raw than previous solo in previous tracks - but it's really cool!(.

I am not gonna review all other remaining tracks but for sure this is a masterpiece neoprog album one should have. The fans of symphonic prog would also love this album as well. Keep on proggin' ...!

Peace on earth and mercy mild - GW

I thoroughly enjoyed COMEDY OF ERRORS' debut so it was an easy choice to pick up "Fanfare & Fantasy" their latest from 2013. While there's lots to enjoy here I was surprised at how much of this I just didn't enjoy, so in my opinion this is a step down from the debut but at 3.5 stars well worth checking out if your into Neo-Prog.

"Fanfare For The Broken Hearted" opens with reserved vocals and piano but it will start to build as the guitar joins in. It settles back with percussion, vocals and atmosphere then builds again. Themes are repeated and we get a ripping guitar solo before 7 minutes that goes to the end. "Something She Said" builds with drums out front as the vocals join in. I like the keyboard work that reminds me of YES. It settles back before 2 minutes with the vocals being the focus but we get some instrumental workouts mixed in. Good song! "In A Lifetime" is mellow with vocals but some outbursts of heaviness comes and goes. A guitar solo arrives before 3 1/2 minutes then it turns pastoral again to end it. "Going For A Song" has a beautiful sound to it with the melodic guitar and vocals standing out. It sounds like strings joining in then it kicks in after 1 1/2 minutes to a GENESIS vibe with pulsating keys. It settles back as contrasts continue. Lots of mellotron late.

"Merry Dance" is a catchy little number with dance-like beats and vocals. The sampled mellotron sounds good along with the guitar solo 3 minutes in but overall i'm not a fan. "The Cause" has a heavy intro that gives way to strummed guitar and keys then it turns fuller. Vocals after a minute and i'm reminded of PENDRAGON. I like the meaningful lyrics too. An emotional track and my favourite. A soaring guitar solo arrives late. "Time's Motet And Galliard" has a spacey intro that lasts until 4 minutes in then it changes as drums and vocals lead the way. Not a fan of this one. "Remembrance" has piano and reserved vocals to start as it slowly builds. Not a fan. "The Answer" has some nice drum work early on and there's plenty of keyboards. It settles back before 1 1/2 minutes and vocals join in. Some nice soaring guitar 2 1/2 minutes in followed by pulsating keys and chunky bass lines. It settles back with vocals but i'm not into this section. I like the pulsating keys before 5 minutes as it builds then kicks in. Another calm before 6 1/2 minutes as the vocals also return along with a guitar solo.

This is an excellent Neo- Prog album but it has it's flaws in my opinion that prevent me from offering that fourth star. I'll stick with their debut.