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KAPREKAR'S CONSTANT

Crossover Prog • United Kingdom


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Kaprekar's Constant picture
Kaprekar's Constant biography
Founded in London, UK in 2016

A London-based rock commune KAPREKAR'S CONSTANT were founded as the brainchild of childhood friends, songwriters and multi-instrumentalists Al NICHOLSON and Nick JEFFERSON in 2016. The commune consist of Al, Nick, Mike WESTERGAARD (keyboards), Bill JEFFERSON (voices), Dorie JACKSON (voices), David JACKSON (saxophones, flutes, whistles, bell), Phil GOULD (drums, percussion, djambe), Paul GUNN (spoken), Sean JEFFERSON (painting), Will HESSE (photography), and Sophie BUTTERS (web design). Their debut album "Fate Outsmarts Desire" has been released in March, 2017.

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KAPREKAR'S CONSTANT top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.86 | 107 ratings
Fate Outsmarts Desire
2017
3.89 | 97 ratings
Depth Of Field
2019
3.88 | 39 ratings
The Murder Wall
2022

KAPREKAR'S CONSTANT Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

KAPREKAR'S CONSTANT Videos (DVD, Blu-ray, VHS etc)

KAPREKAR'S CONSTANT Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

KAPREKAR'S CONSTANT Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.00 | 3 ratings
Call it a Memory
2017
4.00 | 4 ratings
Four Faced Liar
2017
4.87 | 4 ratings
All You Wish Yourself
2019
4.00 | 7 ratings
Meanwhile...
2020
4.00 | 1 ratings
Victorious
2022

KAPREKAR'S CONSTANT Reviews


Showing last 10 reviews only
 The Murder Wall by KAPREKAR'S CONSTANT album cover Studio Album, 2022
3.88 | 39 ratings

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The Murder Wall
Kaprekar's Constant Crossover Prog

Review by BBKron

5 stars Wow! What an unexpected fantastic gem of an album. This is the 3rd album from Kaprekar's Constant, a 'musical collective' from the UK started by childhood friends and multi-instrumentalists Al Nicholson and Nick Jefferson in 2017 that specializes in their own brand of 'symphonic melodic progressive rock' that features beautiful melodies, grand themes, lush arrangements, and great vocals, in addition to a passion for history and storytelling. And the results on this album are just fabulous. In addition to all the guitars, bass, piano, and keyboards provided by Nicholson and Jefferson, the band features wind player extraordinaire David Jackson (of Van der Graaf Generator) on all sorts of saxes, flutes, whistles, recorders, and just about anything he can blow into. Also featured are the dual lead vocalists Bill Jefferson and Dorie Jackson (daughter of David, with a beautiful voice), who have contrasting vocal sounds and styles but blend well whether singing together or separately. Rounding out the band are Mike Westergaard on keyboards and Mark Walker on drums and percussion. This is a concept album with all the songs dealing with stories about various attempts (both successful and unsuccessful) by mountaineers to scale the North Face of The Eiger Mountain, known as the Murder Wall, due to all those that have lost their lives on it. Although this may sound like a very dark theme, the music is anything but dreary, filled with beauty from simple melodies to majestic anthems. There are 17 individual relatively short songs (a total of 74 minutes of music), but many of the songs are part of multi-song suites, as the album tells the true stories of 6 different attempts to scale the mountain (dating from 1935 to 1962). But you don't necessarily need to follow or care about the lyrical content, as the beauty of the songs and arrangements carry the show (but you probably will want to find out more about these events after hearing the album, as the stories are quite compelling). Musically, probably the closest comparison to other contemporary bands would be Big Big Train, especially their more pastoral aspects, as they share Kaprekar's Constant's feel for beautiful melodies and arrangements, grand themes, as well as their penchant for history and storytelling. Another band with some similar aspects might be Moon Safari. As far as more classic Prog bands, I can hear some similarities to bands such as Camel, Renaissance, and such works as Anthony Phillip's The Geese and The Ghost. Although maybe a bit too laid-back for many Prog fans (and this album is even a bit less 'proggy' than their previous albums), I found it to be brilliant and enthralling from start to finish, filled with such beautiful and inspiring music, it is just breathtaking. If you enjoy any of the bands mentioned here, you should really like this album. The music is quite accessible, with much in common with good pop-rock and folk-rock, but just much more thoughtful, elegant, and majestic than anything you would hear on the radio. It's hard to pick out the best tracks, because they all are great, and fit together to make the whole thing flow so well. It really needs to be heard in its entirety from beginning to end. Certainly one of the very best albums of 2022. Fantastic from start to finish. Best Tracks: 'Tall Tales by Firelight', 'Failure Takes Care of Its Own', 'Another Man's Smile', 'Hope in Hell', 'Third Man Down', 'A Silent Drum', 'The Stormkeeper;s Daughter', 'Endeavor/Mountaineers/Hall of Mirrors'.
 The Murder Wall by KAPREKAR'S CONSTANT album cover Studio Album, 2022
3.88 | 39 ratings

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The Murder Wall
Kaprekar's Constant Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

3 stars 1. "Prologue" (4:57) melodic and dramatic, but so simplistic. NeoProg-by-the-numbers. (8.5/10)

2. "Theme - Hall of Mirrors" (2:23) the music here opens with a processional that sounds like it comes from a children's television show--until the soprano saxophone enters. Embarrassingly simplistic. (4/5)

3. "Tall Tales by Firelight" (5:00) like a story recitation with a live soundtrack from a band of minstrels from a Renaissance faire. Turns into an AL STEWART song as piano and, later, sax and electric guitar soli are added. (8.25/10)

4. "Failure Takes Care of Its Own" (4:21) piano continuing its play and theme from the previous song over which the soothing voice of Dorie Jackson tells another story. As the rest of the band joins, they form a decent tapestry of sound. (8.25/10)

5. "Another Man's Smile" (6:02) a simplistic early-Genesis/Strawbs/Gentle Giant NeoProg soundscape supports a story about a man with a broken tooth in his smile. While I enjoy the mix of instruments used to create the musical weave, the songs is just so simple and dull. Nice background vocal work/arrangements. (8.5/10)

6. "Years to Perfect" (2:30) nice long intro slowly builds. This is gorgeous. Guest vocalist Judie Tzuke has a great, wispy-raspy voice. A top three song for me. (4.5/5)

7. "Hope in Hell" (3:00) more NeoProg pseudo folk, this is a lot like or Heather Findlay and Dave Kerzner's MANTRA VEGA project in 2016. (4.25/5)

8. "Victorious" (6:13) more simplistic soft pop rock to support another story. Bill Jefferson sounds exactly like Spirogyra's Martin Cockerham. The song is so straightforward three- and four-chord pop prog. Nice chorus and pipes. Earworm memorable. (8.5/10)

9. "The Rain Shadow" (2:07) another SPIROGYRA-like song that does nothing if you don't hear the lyrics. (4/5)

10. "Third Man Down" (7:20) long, dull intro turns to electric piano to lead into the Strawbs-like melody and story. Bill's voice here sounds like a cross between Roger Waters and Dave Cousins (or Guy Manning and Andy Tillison). The all-in following of the melody line wouldn't be so if it weren't being so insistently drummed into our heads. I do admit that I prefer this style of song construction and presentation with the smooth vocals, but at times this causes the effect of losing it's progginess. Wonderful final 90 seconds. A top three song for me. (13.25/15)

11. "A Silent Drum" (5:00) built on the melody of the previous song, anachronistic Prog Folk instrumentation establishes the structure and soundscape before rhythm section and singer Dorie Jackson join in. The chorus vocals switch over to Bill's Martin Cockerham styling. A slightly more interesting/complex song than what one might have heard trying to enter the Top of the Pops back in the late 1960s. (Think music from the Broadway musical Godspell.) (8.25/10)

12. "The Stormkeeper's Daughter" (3:28) over strummed 12-string and piano accompaniment, Dorie's multi-tracked voice establishes a pleasant melody that, unfortunately, sounds quite familiar (from one of this album's previous songs). Wind instruments, simple drums & bass, and, later, orchestra strings embellish and fill as does Dorie's melodic and harmonic journey. One of the better constructed songs here. (8.5/10)

13. "A World Beyond Man" (3:44) folk guitars woven together to set up another saccharine Prog Folk story presentations. As the soundscape fills and expands, a bombast is on display unlike any of the album's previous songs. But then it returns to the simple folk weave for Dorie and Bill's beautifully performed twin-voiced performance. I don't like the bombast, but I love the sensitive, well-synchronized vocal performance. A top three song for me. (8.5/10)

14. "The Stormkeeper's Reprise" (3:48) just as it says, but this version has a bit of a MOSTLY AUTUMN country twang to it. It does nothing to expand the story--but fulfills a predictable format if one were building a full musical for stage performance. Gives the musicians a chance to unwind before the dénouement and big finish. (8/10)

15. "Endeavour" (3:43) opens sounding like a 1980s Bruce Springsteen or Bruce Hornsby song. After a minute of waiting for development and further exposition, one begins to get the feeling that this is going to be an instrumental. Bruce Hornsby songs are far more interesting and developed than this. (7.75/10)

16. "Mountaineers" (4:58) so simple and straighforward! One would think that the storytellers/ composers would be much more enthusiastic and persuasive about their subject matter as we get to the end. The pipe play and background vocal arrangements and performances are great, but, overall, this feels so lackluster! (8/10)

17. "Hall of Mirrors" (6:15) Starts out with the same tired, lackluster performances and construction of the previous song before gradually (finally) building to a crescendo of enthusiasm--but then it all gets so muddled! (You'd think the world would have learned one thing from Big Big Train!) (8/10)

Total Time 74:49

The length and density of this album has kept me busy trying to get to know it so that I can write a proper review. Obviously inspired by the success of fellow Brits, Big Big Train, this collection of tribute songs about some of the undersung heroes of human history--people that might be in danger of being lost--begs the question: Do we really need a bunch of songs about the failed attempts to climb the north face of the Eiger? Melodic but so simplistic. Despite the thematic intent, at times I found such cheesie music/songs making me feel embarrassed for the musicians. (Don't worry: I've had the same sensation for songs by BBT, Mostly Autumn, Mantra Vega, and Magenta, as well.) Were I more attuned to lyrical content, perhaps I would like and appreciate this more. Also, I don't quite understand how the band allowed the final four to flatten out the mood and enthusiasm for their subject matter.

C+/3.5 stars; as an offering of pleasant Prog Folk music, this is nice. As a tribute to some forgotten or overlooked era or event in history, it can probably be ignored. As a demonstration of the potential and actualization of the artist expression of progressive rock music, I consider this is rather prosaic.

 The Murder Wall by KAPREKAR'S CONSTANT album cover Studio Album, 2022
3.88 | 39 ratings

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The Murder Wall
Kaprekar's Constant Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

5 stars As far as the mass media are concerned, prog died in 1976 and by ignoring the current scene they can pretend that is indeed the case. However, for those of us in the know, we continue to be blessed by new bands coming up and releasing material which is simply incredible. Kaprekar's Constant are a case in point, as their 2017 debut 'Fate Outsmarts Desire' just blew me away, and I felt an incredibly close affinity to the band due to the song "Hallsands", which is about a village falling into the sea where I used to have family. When they followed it up with 2019's 'Depth of Field' I knew here was a very special outfit indeed, and now they are back with their third. As soon as it arrived this was straight on my player, and I sat there with my headphones on, falling into yet another magical world.

We have the same line-up as on the last release, namely David Jackson (VDGG, saxes, flutes, whistles), Mark Walker (drums, percussion), Bill Jefferson (vocals), Dorie Jackson (vocals, BTW, Dorie is David's daughter and can also be found performing with him on the latest Judge Smith release), Mike Westergaard (piano, keyboards, backing vocals), Al Nicholson (guitars, piano, keyboards) and Nick Jefferson (bass, keyboards). Here we have a concept album, telling stories of climbers attempting the North Face of the Eiger, set between the years of 1935 and 2007, telling the stories of those who attempted one of the most dangerous ascents in mountaineering. Since 1935, at least sixty-four climbers have died, earning it the German nickname Mordwand, literally "murder(ous) wall".

There is so much which makes Kaprekar's Constant one of the most vibrant and interesting bands around, from the vocal arrangements (and the use of male/female singers), the high use of acoustic instruments, different wind instruments, fretless bass, the complexity of the musical arrangements which can also be delicately simple, the use of space (Mark has time to go for a beer at times as there is no need for percussion throughout, and his not playing is just as important as his playing). On top of that the songs are always wonderful, with so much in them, yet they are always easy to follow with plenty of threads for the listener to pull on. It often feels far more like orchestration than a band, but then we can drop into piano such as on "Third Man Down" or acoustic guitar on "The Rain Shadow" and everything changes.

They are a band which have been welcomed by both the folk and prog crowds, as their music has a great deal in common with both, and rightly so as it is simply beautiful, and at times beautifully simple while at others massively complex yet always with purpose and passion, wrapped up in emotion. It has been a while since I gave the first three albums from any band maximum marks (Spock's Beard or Galahad perhaps?), and here I am doing it again.

 Meanwhile... by KAPREKAR'S CONSTANT album cover Singles/EPs/Fan Club/Promo, 2020
4.00 | 7 ratings

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Meanwhile...
Kaprekar's Constant Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars There is no doubt in my mind that one of the most interesting progressive rock bands to come out the UK in recent years are Kaprekar's Constant. Here we have their latest EP, which contains four new songs and a total running length of just 17 minutes, which is quite something for a band who are more than happy to have individual numbers lasting far longer than that. Their music makes one think of times gone past, as they mix symphonic progressive rock with Canterbury, pastoral elements with folk, wrapping it all up in a tidy bow of harmonies and wonderful musicianship and hooks to make music which transports the listener to a different time and place. The use of two very different and powerful lead singers in Bill Jefferson and Dorie Jackson allows them to change emphasis as having both male and female vocalists is unusual, and then there are the three multi-instrumentalists Al Nicholson, Mike Westergaard and Nick Jefferson who keep changing the sound, as well as having two stalwarts of the scene in Van der Graaf Generator sax player David Jackson and Caravan drummer Mark Walker.

It is hard to pick a favourite of the four, but "Kissing Frogs" is simply stunning. It is incredibly simple, with most of the band not involved at all, but Dorie's clear vocals against the piano creates something very special indeed and is something I have found myself playing repeatedly. It is an incredibly easy EP to listen to, yet the arrangements are highly complex and structured, without ever coming across as strained. Given this was recorded during lockdown is quite something, and one can only hope that when things settle down somewhat in the UK they can get back into the studio and record album #3. Kaprekar's Constant continue to defy current norms and take us back in time when there were no subgenres, and this would have been simply described as progressive rock. All their material is of an exceptionally high standard, and yet again they have released something which is very special indeed.

 Depth Of Field by KAPREKAR'S CONSTANT album cover Studio Album, 2019
3.89 | 97 ratings

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Depth Of Field
Kaprekar's Constant Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

5 stars Okay, I admit it, I deliberately delayed playing this CD, for a couple of reasons. Firstly, their debut blew me away and I was worried that this couldn't possibly stand up against it (the dreaded second album syndrome), and if it did stand up then I was in all sorts of trouble as I am already miles behind where I need to be on reviewing and the debut was a "blocker", i.e. I was enjoying it so much that I had problems listening to anything else. Well, I eventually took the plunge, noting that not only is Van der Graaf Generator sax player, David Jackson still involved, but Caravan drummer Mark Walker is now in the band while Ian Anderson contributes some spoken words.

This is not the type of progressive rock which one expects to hear these days, it belongs in a time gone past. There are times when it is pastoral with folk elements, it is multi-layered, complex and lush with arrangements which lift up the listener and allow them on rest gently on a cloud of notes as the sounds just swirl round and round. With both a lead male singer in Bill Jefferson and lead female in Dorie Jackson they are able to switch emphasis, while in Al Nicholson, Mike Westergaard and Nick Jefferson the band have three multi-instrumentalists who combine together to provide an amazing backdrop. Jackson is here not only for sax, but also flute and whistles. As with the debut album, the lyrics are incredibly important, telling stories from times gone past, and to hear someone actually talking about trying to see "doodlebugs" (the V-1 flying bombs used to such deadly effect by Germany on London) when they were a child, really draws one into "Ghost Planes".

Again, there are a mixture of shorter and longer pieces, but while "Rosherville" is broken into three, we are treated to "White Star's Sunrise" in its 24-minute-long uninterrupted entirety. Lyrically this tells the story of the three vessels which formed the Olympic class of White Star lines. The first of these, for which the class was named, was the only one to have a lengthy service, while the second was of course 'Titanic'. The third was 'HMHS Britannic', which as is implied had been put into service as a hospital ship during the first world war but was sunk after a German mine bear Greece. Three very different outcomes for the sisters, all told with reverence and empathy, all with the right amount of decorum and respect. Just listening to the lyrics made me ask questions about what had actually happened, and I undertook research as while we have all heard of the fateful journey of the 'Titanic', the others were new to me. Music which makes one think, whatever next?

Complex and highly structured, this is actually very easy progressive rock music to listen to, crossing over many different sub genres, moving from folk and acoustic to rock, use old audio clips to bring stories to life, always feeling the band are in total control and refuse to be rushed at all. Incredibly well-conceived and delivered, there is no doubt that Kaprekar's Constant are continuing to show that there is a real place for reflective progressive rock in the current musical scene, and no-one does it better.

 All You Wish Yourself by KAPREKAR'S CONSTANT album cover Singles/EPs/Fan Club/Promo, 2019
4.87 | 4 ratings

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All You Wish Yourself
Kaprekar's Constant Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

5 stars Here we have a two-track digital single from one of the best new prog bands around, Kaprekar's Constant, with all proceeds going to the charity Crisis. While the title cut is a new song, the second 'Call It A Memory' was their debut single back in 2017. Their mix of folk and prog, with complex arrangements and layerings, have made Kaprekar's Constant a great many friends, and their debut 'Fate Outsmarts Desire' is simply stunning (to my shame I still haven't played the follow-up, 'Depth of Field', but it is on my list, honest!). These two songs remind me just why I love that album so much, as while the arrangements are huge and complicated there is also a simplicity contained with which make them such a delight. One can certainly see why David Jackson is so involved, and his use of various saxes, flutes and whistles breaks through to provide an edge while the twin vocals of Bill Jefferson and Dorie Jackson are sublime and comforting. This single should become a new Christmas classic, and by buying it not only will you have an incredible musical experience but you will be helping those less fortunate as well.
 Fate Outsmarts Desire by KAPREKAR'S CONSTANT album cover Studio Album, 2017
3.86 | 107 ratings

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Fate Outsmarts Desire
Kaprekar's Constant Crossover Prog

Review by Corcoranw687

5 stars When I discover a new group and try to get others to check them out (entirely the point of my presence on this and other websites), I first try to compare to other bands to pique interest. Here I was immediately reminded of Big Big Train and Van der Graaf Generator, Only to discover David Jackson himself features heavily on this album! This album is so delightfully British, telling stories of Malcom Campbell and Hallsands. After a lovely introductory track we are treated to Blue Bird, which has to be heard to be believed! I had No idea about these people from the 1920s and their attempts to break the land speed record but this track's combination of spoken word "radio broadcasts", great lyrics and interesting instrumentation had me hooked. I listened to this about 4 times before continuing with the album, completely mesmerized. The rest of the album does not disappoint but my favourite instrumentally must be Houdini, featuring more of that radio broadcast style and sounding more like VDGG than the rest while maintaining a sense of complete originality. I can't think of a 2017 album that captured my interest as completely as this one, you cannot miss this! An easy 5 stars,the lyrics, vocals, all the players are perfect, I can't think of anything to criticize at all. I love this
 Fate Outsmarts Desire by KAPREKAR'S CONSTANT album cover Studio Album, 2017
3.86 | 107 ratings

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Fate Outsmarts Desire
Kaprekar's Constant Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

3 stars A surprise arrival from this collective of British prog veterans, the sound is pristine and well-mixed and effected, the music very easy on the ears, kind of like TONY PATTERSON or MANTRA VEGA with the British historical passion equal to BIG BIG TRAIN.

1. "Hors d'Oeuvre" (3:28) opening with a passionate male voice singing a cappella, the song soon progresses into a well-woven tapestry of straight-timed folk rock for the telling of a story about. Love the background flute, organ, and sax play in the second and third minutes. Interesting choral bridge to the piano-based, "orchestra"-drenched finale. (8.5/10)

2. "Bluebird" (17:53) a musical expression for the telling of the story of Malcolm Campbell and Parry Thomas chasing the world land speed record back in the 1920s. The song is peppered throughout with interjections of recorded radio quotes from the era's headlines. GENESIS-like drum play and multi-track guitar picking coupled with a very pleasant, catchy melody make this easy listening part of the song (the first six minutes) my favorite on the album. Instrumental section in the seventh and eighth minutes contains some lackluster electric guitar and saxophone soli before we are returned to the narrative with news of Parry Thomas' death while trying to race his speeding "Babs" to a new world record. Dull, sad lyrics follow. Bluebird's return the next year is announced, followed by a "fanfare"-type of full-band instrumental section. The achievement of a new record initiates another pretty, more upbeat singing section. The multi-instrument soloing here is almost jazzy. Nice multi-voiced vocal section follows--another outstanding section--which progresses with a steady buildup into a prolonged final section--one that rivals anything BIG BIG TRAIN has conjured up. (9/10)

3. "Pearl Of The Lake" (5:10) a pretty ballad that would have fit perfectly on the 2016 MANTRA VEGA release. Nice sound, soothing, but nothing very exciting or noteworthy here. (7.5/10)

4. "Hallsands" (14:18) a song that tells a sea story with lead singer's IAN ANDERSON/DAVE COUSINS-like voice taking the stage, front and center, for the majority of the song. A switch into acoustic folk traditional music at 5:36 is fun-- though the electric guitar power chords sneaking into the background are, in my opinion, unnecessary. But this is all for naught as there is a quick switch back into storytelling mode with a new, orchestral-sounds-supported slowed down section--a section that is, unfortunately a little too monotonous despite the gradual buildup with additional instrument tracks filling the soundfield. At 8:30 the music switches into an interesting instrumental section in which seems imitative of Genesis' "Apocalypse in 9/8" Just before the ten minute mark this ends and some medieval acoustic instruments give the song a new medićval feel before settling into more of another ballad- support combination--this one far more traditional British folk-oriented (until the electric guitar solo at 11:42). Flutes and Mellotron-like synthesizer washes support. Organ and electric guitar re[place the vocalist to carry the main melody forward from the end of the thirteenth minute to the song's end. I like a lot of this music--and it seems perfect for the support of another historically-based story, but the story and lyrics are lost to me. (I just don't absorb the meaning of the words of song lyrics. A disability of mine, I believe.) (8.5/10)

5. "Four-Faced Liar" (4:24) a song based in acoustic instrumentation (even the keyboards seem to be trying to make the sound of acoustic orchestral instruments), another story is being told with lots of radio samples incorporated beneath and between the singing and music. Something about Boston and gold. The lead vocal here is rather pitchy. (8/10)

6. "Houdini" (21:26) the third and final epic-length song of the album, opens with atmospheric sounds supporting the long introductory reproduction of an old loudspeaker speech--perhaps an original recording of Houdini? At the end of the second minute the speech ends and the music switches to bring electric guitar arpeggi and some nice flute play to fore while female voice(s) enter before a lone female voice takes over the lead. With the second verse drums, bass, and more layers of keys and guitars and saxes join in. Very nice sound and construct. The succeeding sections of instrumental and lyrics support are nothing extraordinary--even tread a disappointing line between predictability and lackluster. In fact, the plethora of old radio samples are by far and away the highlights of the song. I like Kate Bush's tribute better. (8/10)

The keyboard master does a great job arranging plenty of keyboard-generated orchestral sounds and textures but, in the end, they're a weak point because they're still just keyboard generated representations. The vocalists have pleasant timbres and interesting stories to tell but their performances mostly lack passion and fire. The most interesting parts of the music are the tapestries woven by the combination of acoustic instruments, though even these seem prone to disappoint due to their frequent lack of invention and/or their flashless product.

Four stars; a nice piece of pastoral, history-oriented story telling--a celebration of one of the niches progressive rock music has carved for itself.

 Fate Outsmarts Desire by KAPREKAR'S CONSTANT album cover Studio Album, 2017
3.86 | 107 ratings

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Fate Outsmarts Desire
Kaprekar's Constant Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

5 stars I must confess, I have been listening to progressive rock music for more than 40 years now, and there have been times when I have treated the lyrics more as an additional instrument than important words (I mean, have you studied 'Tales of Topograhpic Oceans'?). This time, however, I felt emotionally vested in what was going on, so much so that driving and listening started to become a difficult, of not dangerous, task. The second song on the album is "Blue Bird", and tells the story of Malcolm Campbell, and his endeavours to break the land speed record. From a young age, I was fascinated with cars, and the first piece of school work I can remember completing was a project on the great Graham Hill sometime in the Sixties. Many years later and we were living in Dorking and decided to go to a Sunday market in Weybridge, not too far away. It was only when we arrived that I realised we were inside the famous Brooklands racing track, and the curved bank I had seen so many times on grainy black and white film. By the time the eighteen- minute-long song had ended, I was fully invested, both in the lyrics and in the music, which owes so much to classic Seventies pastoral progressive rock, and to the way that multi-instrumentalists Al Nicholson and Nick Jefferson have brought together an incredible bunch of people to work on the album.

But, if I had felt a connection with that song, track 4 really brought it home. The song is called "Hallsands", and is the story of a village destroyed by authorities deciding that the sand that protected the cliffs would be better off at Devonport Naval Base, and ignored the locals who said that it would undermine them. These days there a few ruins left, filled with memories of those who were there. Why the connection? Well, although my dad was a foreigner in Brixham, where I am from, as he was born at Bolt Head (all of 30 miles away), I can trace my family from my mother's side through generations of trawlermen. And, some of them had actually come from Hallsands. I remember being taken there more than 40 years ago and being told the story, never expecting to hear it immortalised in song, and certainly never expecting to hear said song now that I am living on the other side of the world!

I had already fallen in love with the album, with stunning performances from all involved (including the wonderful David Jackson from VDGG), yet the "Pathe News Reel"-style spoken passages and the breathy vocals let alone the strong lyrics, make this a very special album indeed. This is a very special album, and makes my personal Top Ten for 2017.

 Fate Outsmarts Desire by KAPREKAR'S CONSTANT album cover Studio Album, 2017
3.86 | 107 ratings

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Fate Outsmarts Desire
Kaprekar's Constant Crossover Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars UK band KAPREKAR'S CONSTANT basically revolves around the talents of Nick Jefferson and Al Nicholson. To give life to their creations they assembled a collective of musical friends, and the end result of this became the album "Fate Outsmarts Desire" which was released through fledgling label Uranium Club in early 2017.

Those fond of what to me at least comes across as archetypal English progressive rock, complete with pastoral sequences, shimmering symphonic textures and a fairly mellow, atmospheric laden expression as a key feature throughout, those are the persons that should take note of this band and lend them an ear. The vocals will perhaps be something of a divisive factor, depending on personal taste, but I can easily see this album one that will make it into may people's lists of personal favorites from 2017.

Thanks to dAmOxT7942 for the artist addition. and to Quinino for the last updates

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