SCREENS LIVE IN LONDON

Screens is the DVD recording of a Panic Room gig filmed at Islington Assembly Hall, London, on 16/10/2016. The gig was planned, and the entire project commissioned, with a Pledge Music campaign by the band. Those readers of this review wishing to purchase this fine piece of work should note that it is only available from the band direct at www.panicroom.org.

Panic Room have released five consistently excellent albums now since their inception out of the ashes of another South Wales band, Karnataka. At their heart are the excellent vocalist Anne-Marie Helder, whose work with Mostly Autumn will be familiar to many, Jonathan Edwards on keyboards, and Gavin Griffiths on drums, also of Mostly Autumn vintage.

The band is completed by two superb musicians. Dave Foster's marvellous riff on gig opener, Into Temptation, gives the viewer a foretaste of a superb performance, whilst the band have enjoyed the services for a while now of one of the finest bass exponents in modern progressive rock in Yatim Halimi. That these two also play with The Steve Rothery Band should give you an idea of their expertise.

The DVD itself is sumptuously packaged, and the filming by Toward Infinity, responsible for work with Marillion, amongst others, more than does justice to the occasion. There is also a bonus disc, which is more interesting than most, featuring the intro to the gig by the venerable Jerry Ewing of Prog magazine, three more live tracks, and an 'access all areas' feature of the band in rehearsals, amongst other jaunts.

Panic Room are a band clearly in their element live. As with the studio albums, the sheer breadth of their music shines through. The playing is never anything less than tight, and we are treated to a fair old mixture from hard rocking, to melodious love songs, to progressive symphonic rock, to lush middle eastern soundscapes. For early evidence of a band utterly in tune with each other, witness Screens, which is as fine an ensemble piece as you will see and hear. It is perhaps unfair to single out anyone, but Halimi thunders along on this, playing a massive bass riff to a wonderfully dark Edwards key lead.

As with all films of gigs, the DVD really needs to be watched from start to finish. There are twenty-two tracks in total, nineteen on the first, main, feature. As with all gigs, though, there are standout highlights which deserve special mention in a review, and I will touch on some of these.

The gig features my favourite track of the 2010's in Start the Sound. From the wonderful album, Incarnate, this track is as good a piece of melodic progressive rock as you will have the pleasure of witnessing. By heaven, Helder sounds joyous on this, and Foster plays a lovely understated solo. As he quietly plays the denouement following Edwards delicate keys, you stare at the screen, boggled at the beauty of what you have heard. I also appreciate deeply the political comment element that the band bring to their music. Yasuni is a fine piece centred around the scandalous oil drilling in Ecuador's National Park. Dust is an emotional rollercoaster of a rocker which tells the tragic story of airstrikes dropping chemical weapons in Syria on children. This track is every bit as good as Gaza, Marillion's opener on Sounds That Can't Be Made, and the intensity of it leaves you stunned. The combination of honest lyrics, combined with fine musicianship speaks volumes for the maturity in a band which I always look for. Anyone can sing about boy meets girl, boy shags girl, & etc. A band such as Panic Room deserves the progressive community's support for this social comment set to outstanding music, in the finest tradition of the genre.

They do, though, also play some rather catchy stuff. Some call it 'commercial'. I just call it mighty fine. A recent review in The Times of boxsets by ELP & King Crimson described them, rightly, as, ahem, 'difficult'. The same review then suggested, as a Christmas box, that the non-progger partner in your life might prefer the superb Big Big Train, as an example of how modern progressive rock bands can also play, er, tunes. Panic Room are in that vein and in that quality. For no better example, I give you the quite beautiful Firefly, a ballad wonderfully sung, accompanied by piano and acoustic guitar.

Tightrope Walking is one of those tracks with wider world influences, and reminds one of Kashmir in parts. Helder plays hand drums on this, and the orchestral keys are very atmospheric.

Skin is classic Panic Room, melodic and played at a deceptively quiet intensity.

In the gig closer, Satellite, the band have one of the finest anthemic songs ever put to record. It is simply one of those songs which demands the lowering of the lights, the volume cranked up to the max, and a damned fine singalong.

This is an excellent film, and I enjoyed every minute.

On Prog Archives, we are obliged to provide a rating. Well, for existing fans such as I, this is simply essential. For those of you who are tempted to begin a Panic Room journey, it is quite an excellent way to start said road. If we had such a rating, 4.5. I am rounding it up to the maximum five for two reasons. First, I am allowed to, and, second, it really deserves no less. Very highly recommended.

The melodic and romantic side of prog is generally (but not always) viewed as perhaps a less progressive style that does not always get the proper recognition. Sure, technical prowess is always inspiring but the context is of equal importance. So, crafting accessible melodies, played by expert instrumentalists, is entirely palatable and a joyous diversion from all the fury of complex polyrhythms and intricate technique. There are quite a few talented female singers in current prog, which explains the highly praised status of bands such as Mostly Autumn, Karnataka, Breathing Space and Panic Room, who all have staffed various members in a revolving door fashion in the past. The latter is growing in reputation as well as forging quite a career, staffed by amazing players such as Dave Foster (Mr So and So, Steve Rothery) , the slick bass playing of Yatim Halimi (Rothery) , the pulsating drums of the genial Gavin John Griffiths (Mostly Autumn, Karnataka, Jennings) as well as keyboardist and songwriter Jonathan Edwards . Lead singer Anne-Marie Helder is quite a lead vocalist, having joined Mostly Autumn and Karnataka in the past as well as a slew of sessions, fronting expertly with her powerful and expressive voice.

From their debut 'Visionary Position' in 2008, the core group has been releasing a new chapter of their artistic vision every two years, polishing and perfecting the quality of their compositions. 2010's 'Satellite' was another revelation but the real breakthrough came in 2012 with the thunderous 'Skin', their last album with guitarist Paul Davies (of Karnataka fame) , which simply enthrals me still to this day, one of the finest female fronted prog albums ever. 'Incarnate' followed in 2014, introducing guitarist Adam O'Sullivan, keeping the band on their quest of excellence. 2015 saw 'Essence', a semi-acoustic reworking of past songs with a couple of new pieces. I was really hoping for a taste of their live work and this DVD collection is quite the treat for both fans such as myself or even prog outsiders looking for something palpitating yet accessible. The 'Live in London' concert is a torrid affair that encompasses all their albums' best songs , giving a glimpse of their mature style , blasting off with the heavily Celtic-influenced 'Into Temptation' , a gorgeous whirlwind of pulse and melody , propelled by Halimi's 5 string fretless bass noodling around the binary beat and stamped by Helder's smooth voice. There is a definite Iona feel, crowned by a sumptuous Foster guitar blister and a mystical atmosphere. They also know how to rock, with the powerful 'Freedom to Breathe' blasting forward, the voice urging the need to inhale, at times hushed, and then wailing like a banshee, while the band plows ahead, raunch and rattle. Things get predictably melancholic with the title track 'Screens', a sorrowful musical labyrinth that weaves wildly, loaded with bass burps and poly rhythmic percussion, the manic guitar solo rages, fumes and explodes with fury. Time for the mellow 'Yasuni', a heavily atmospheric piece that directs attention to ecologic man-made disasters, a rather soothing track full of delicate bitterness and contempt.

Panic Room kick it up a notch with the stellar 'Start the Sound', easily one of 'Incarnate''s finest songs, a glorious melody that would be a prog 'hit', if such a thing could possibly exist, showcasing a delicate sense of symphonics and vocal prowess, loaded with subtlety and flair. Truly majestic. Two powerhouse tracks from 'Skin' follow, proving what a monster album that was: an ornate piano motif introduces the intriguing 'Chameleon', which in a live setting morphs into quite a show stopper, Foster's sultry guitar solo a clear example of technical expertise, while the piano and the rhythm section hold the fort. The chameleon does change its skin after all! Jonathan Edwards has a solo time on the piano and Foster takes over with another brilliant flurry. Anne-Marie also adds her flute to the mix with great effect. 'Promises' has both quirk and charm, a nervous lament where the lyrics take over, expertly delivered by Helder, both hushed and angry, about the human condition.

Current events also are expressed, none better that the heartrending 'Dust', a condemnation of the brutal war in Syria, where use of chemical weapons seems to have not outraged the world community enough. The mood is appropriately somber, with dark slashes of electric sound and a forlorn voice crying out somewhat desperately, a soundscape of bursting and phosphorescent guitar explosions, amid stormy synthesizers and a funeral beat. Intelligent music and a thoughtful theme will impact any listener and this is a true moment of incredible emotion. Gulp! A little respite is desperately needed after such a calamitous piece and the thoughtful 'Firefly' does the trick, with just acoustic piano, acoustic guitar and voice. 'Times of darkness and when the heart is grey' she croons, aching and bellowing with majestic grace. Lovely'and entrancing!

Things get back to hectic with the blustery 'Song for Tomorrow', another immaculate gem from 'Skin' that pounds mercilessly , armed by Halimi's deep bass carving huge arcs as the band rages collectively. My esteemed PA colleague Lazland is so correct in his praise for the Singapore bassist, who really shines throughout and seeing him play is such a total treat! Combined with master drummer Griffiths, one can only drool at the talent on display! To follow up with the thrashing brilliance of 'Velocity' was quite the right move, as this is also quite the rhythmic workout, another monster one two punch in the face. Tight and intricate, with ebb and flow, veering from gentle serenity to impossible power, this harder side of the band proves just how they have mastered their song writing, not surprising in view of the huge talent at their disposal. Foster again peels off a few blitzing leads, all sizzle and rant! Seeing Halimi's natural exuberance is an added treat. Warmer climes ahead, as 'Tightrope Walking' gets a slightly different touch, all kinds of Middle Eastern percussives abound and a Kashmir-like feel with a curvy Foster guitar solo that spits fire and brimstone. Orchestral and grandiose, the sampled violins give this track so much expanse. From their debut album, the mysterious 'Apocalypstick' keeps the Saharan feel intact, with sweeping synths and slithering guitar forays that evoke some distant oasis, lost amid the sand dunes. The two talented soloists collide often and hard, dervishes whirling masterfully. Again, two different tracks that have a common feel and thread. The delirious 'Incarnate' is more subtle, a slow-growing anthem that is crowned a by a whistling guitar solo that goes on, undeterred.

Three tracks from the amazing 'Skin' album are up next, the title track being one of my favourite tracks, a visceral melody that grabs by the jugular, piano-led and expertly sung by Anne-Marie, as Foster wields his double neck guitar with amazing grace. The bitingly aggressive 'Hiding the World' has Foster sniping madly, his brash guitar darts in and out of sight and sound, while the nasty bass forages wildly and joins drummer Griffiths in a tectonic display of rhythmic union. Again, the quality of the musicianship is clearly evident, their enthusiasm overt and bold. And finally the epic monster, 'Nocturnal', best described by comments on my Skin review :' a haunting piano-led reverie that defies description, an epic piece that introduces the night and all its fragile shimmering , a howling voice beckoning the gentleness of nature's rest and all its little pleasures. The piano rollicks sensually, violins in embrace, prepping the ground for the urgent and desperate guitar solo and all restrained emotion, waiting to explode. Helder wails like a woman possessed, how can anyone resist this?' . Absolutely splendid masterpiece track.

The first encore, 'Sandstorms' is a quirky rocker, perhaps impromptu as its never been on any album before. Roiling organ, choppy drums, gurgling bass and slick guitar phrasings are united with Helder's voice in a rousing and rollicking slice of concert fun. Foster manhandles his guitar neck with another series of sweltering solos. A clear set-up for Edwards to manhandle his ivories, the organ in particular being in the spotlight. Smoky, sensuous and fiery. 'Satellite' is Panic Room's anthem, a spectacular melody, wrapped in instrumental candy, instantly adorable and yet still not really commercial. Mesmerizing yet simple, the moody atmosphere is immediate and devastating, fueled by a slick guitar riff, a pulsating beat and a chorus to expiate over. Halimi does a solo that is all subtlety and grace. The vocal talent of Anne-Marie Helder is crystal clear, her voice both soft and authoritative. Enough said, a total treat and a highlight moment of this splendid concert. Two hours of bliss'.

The bonus material is mesmerizing, starting with one of their finest tracks and one I personally adore : 'The Fall' which actually kicks off the concert, a tenderly gorgeous piece full of sorrow, with evocative lyrics that dwell on the ebb and flow of emotions, of guilt and acceptance, in all matters of love and relationships. A sterling e-piano solo from Jonathan Edwards ends this treat. The sweet 'Sunshine' is another perennial favourite, perhaps one of the most 'epidermal' songs in the Panic Room pantheon, all elasticity and gentle tribulation. The lyrics are bright and heartfelt, expertly delivered by the incredible Anne-Marie Helder. The playing is silky and evocative. The sweet 'Denial' is a new track written for 'Essence', a shimmering rocker lush with sensual demeanour, a cool tune passionately conveyed, with more e-piano and fuzzy guitar to enhance the convincing mood.

A thoroughly enjoyable evening of entertainment that deserves a massive audience. Expertly filmed and a great package altogether. The easiest rating ever'.Get this jewel from the band's website !

5 Jodie Fosters.