KINGBATHMAT

The new Progressive Rock! This week I've reviewed two CD's of two different bands (the other one being Half Past Four) that show how Progressive Rock can go forward and yet, looking into the past, with style and originality.

KingBathmat is an English band and Truth Button (2012) is their 6th album. And it seems that the Alternative Rock really plays an important role in today's Prog music, cause we see it more and more in 00's groups. The band recorded the album with a quartet this time: John Bassett (vocals and bass), Lee Sulsh (guitars), Bernie Smirnoff (drums) and David Georgiou (keyboards).

Initially released in June of 2012 independently by the band, Truth Button (2012) was re-released later in January 2013 by StereoHead Records and it is a 'weird' collection of 6 tracks in almost 50 minutes. Why weird? Because the band achieved a fusion of different styles inside Progressive Rock like Alternative Rock, Psychedelia, Experimental Rock and even? Grunge!?!

Truth Button (2012) is also a concept album, it deals with an underlying theme of technophobia and social disconnection due to the ever-growing trivial use of modern technology of our times.

The opening track 'Behind The Wall' has all the guitars from the 90's Alternative Rock but mixed with melodic passages while the second one 'Abintra' is very heavy with a doom feeling and very weird vocals. While the two first tracks were a bit more on the heavy side, 'Book Of Faces' is more Prog in the common sense, at least in the first minutes. Then it becomes a healthy mess.

In the 'second part' of the album we have 'The End Of Evolution' with a few 'modern' touches and for me a low point on the album. 'Dives And Pauper' return with the KingBathmat sound and the epic titled 'Coming To Terms With Mortality In The Face Of Insurmountable Odds' closes the album in high style.

KingBathmat is not so easy to digest and at the same time catchy and full of good melodies. It takes some time to get used to John Bassett vocals too, but as soon as you do Truth Button (2012) comes very natural to the ears. Sometimes the tracks may seem a bit too long but it changes with a few listens. The band proves that it is possible nowadays to be experimental and drink heavy doses of Progressive Rock but at the same time have Heavy Guitars, a tight Rock n' Roll sound borrowed from the 90's and lots of singable melodies.

Truth Button (2012) is a proof that experience acquired after 6 albums and 10 years of playing and not being afraid of trying new approaches can give you big and beautiful fruits on your tree. In KingBathmat case this fruit is Truth Button (2012).

Truth Button is the latest album from KingBathmat, a psychedelic-prog band with a fast, heavy style of space rock reminiscent of the Bevis Frond playing hard rock. The sound of the album is raw and unpolished, and whilst the quality of the performances are quite consistent, the album offers few standout moments, giving the overall impression of a piece knocked out in a hurry without an awful lot of thought being given to polishing the compositions. The spontaneity expressed in the band's sound will doubtless appeal to some listeners so if you're into hard- edged psychedelic rock with a modern bent it's not a terrible choice, but I wouldn't throw any parades for it just yet.

If Radiohead were fun

I have a confession to make that will lower my credentials even more than they already are. I really don't like Radiohead very much post-Bends. Are they good, sure, are they important, fine. But I'll do almost anything to keep from playing their discs. Need your lawn mowed? I'm there. Anyway, when I'm looking for a great indie alternative rock band in the Radiohead/crossover realm, but actually want to have some fun at the same time with musicians who don't come off as self-important, I can reach for Kingbathmat's "Fantastic Freak Show Carnival." Released in 2005 the album sports an alternative rock/melodic pop backbone with hints of psychedelia, experimentation, and imagination. Think of a cross between "The Who Sells Out" and a John Frusciante album and you might have an idea what the Freak Show feels like.

Given that this is a one-man album it is very impressive how Bassett manages such a full and rich sound, sounding more like a full band with dual guitars. Punchy melodic pop and harder rock numbers occasionally escalate into longer jams, but for the most part the songwriting is succinct with great instincts. The secret weapon is Bassett's amazing self-harmonizing on his vocals...he has a voice very much like Frusciante but is capable of doubling over himself to create lush and lovely vocal presentations. "Sweet Iris" was my favorite for this reason, just glorious hazy psych-pop, mostly vocal, with light guitar for color. Mixed with his whimsical and perhaps slightly Syd Barrett nods, along with superb and tasteful guitar leads, the result is a very satisfying modern rock album. The final track finds him stretching out to 12 minutes and getting wilder, almost Kingston Wall territory. This excellent under-the-radar release eluded me for too long. Check it out, along with his new album "Truth Button."

KingBathmat are an independent progressive rock band, hailing from Hastings in England. Initially started by singer/songwriter John Bassett, the band have now independently released five albums to date Son of a Nun (2003), Crowning Glory (2004), Fantastic Freak Show Carnival (2005), which was my introduction to the band, Blue Sea, Black Heart (2008) and Gravity Field (2009). The 4 piece band comprises of John Bassett (bass, vocals), David Georgiou (keyboards), Lee Sulsh (guitar) and Bernie Smirnoff (drums).

Their sixth studio release is Truth Button and it sounds like another fantastic combination of rock, prog and psychedelic treats. This being the third release I have covered, I anticipated yet another rockin' adventure of sorts. I was not disappointed.

Based on what I have heard since 2005, Truth Button has more guitar heavy moments than any release yet thanks to Lee Sulsh. It is a very welcome sound for these ears. The band's ability to mix the harder and softer aspects together in one song is what will win you over. The switching back and forth and sudden time changes are what define it as a progressive work of art. For instance, the opening track 'Behind the Wall,' comes out rocking hard and was a good choice to set the overall energy and tone of the album. 'Book of Faces' is a prime example of the switching up from heavy and dark segments over to more airy light parts that change the entire direction of the track. This is the most intriguing aspect of KingBathmat. 'The End of Evolution' is more of what I have come to expect from this band, with my own familiarity of the music already locked in, it clicked in instantly. This is the KingBathmat sound that got me interested right from the start. The rocking melodic guitars, driving layered keyboards and a locomotive bottom end are what come together seamlessly to create their own special sound. The keys in particular add a lot of flavor to the tracks, with sounds varying from sounding like early Yes to equal parts menacing Phantom of the Opera organ flourishes. It's all quite interesting and fits each section of every track like it is supposed to be there.

As the album played on I found it increasingly difficult to choose what was the defining moment or what the magnum opus of the collection was. Every track is quality and prog rock at its finest. John Bassett is still the driving force and 'voice' of the band and it his vocalizations that put a unique stamp on the KingBathmat sound.

'Dives And Pauper' certainly has its moments as well, rock goes into hyper drive on this one, and they never take their foot off the gas. This band could be anything they want to be with all the talent at their disposal and the variety of sound they can offer up in one track is very impressive.

With 6 tracks (4 bonus tracks on the digital release that I did not have the pleasure to hear) of prog complexities coming at you there is a lot to ingest and appreciate if you happen to be a discerning listener that likes something different at every turn. I think you are bound to find what you desire with Truth Button, just push start. This is an excellent album with true talent showcased in every song. A can't miss prog rock classic perhaps? In my estimation'yes.

Key Tracks: Behind The Wall, Book of Faces, Dives And Pauper

'Truth Button' - KingBathmat (7/10)

In the modern scheme of progressive music, alternative rock now plays as much of a popular influence on the scene as do the style's traditional draws of classical and jazz music. Among other greats, Porcupine Tree, The Mars Volta and Radiohead are some of the best known groups keeping progressive rock up to date and with the times. KingBathmat (a name as odd as any you're bound to come across) aligns themselves with this forward thinking trend in progressive rock. Although their arrangements occasionally tip the hat towards the genre's original legends, "Truth Button" is a solid fusion of prog and alt rock. The two halves are given equal credence and proportion in the style, and though KingBathmat have left room for further improvement on this album, it's rare to hear such a smooth combination of the old and the new.

Although progressive rock is the heart and soul of "Truth Button", I was surprised to hear such a heavy grunge sound at play here. Yes, grunge, the celebration of everything opposite of the traditional progging spirit. Although the two schools are in direct conflict on paper, KingBathmat makes the two work together. Although a modern rock sounds pervades the songwriting, much of the strictly grungy vibe on "Truth Button" is confined to the guitar tones, which retain a crisp clarity in the production in spite of the fuzzy textures. Although progressive rock is certainly no stranger to loud guitars, the riff-oriented nature of KingBathmat is incredibly overt. Although the song structures ultimately favour the sort of complexity and longform structures that so often appear in progressive music, many of these riffs are the sort of thing you might hear on a modern radio rock single. This balance between accessible and proggy elements largely defines what frontman John Bassett and co. have done on "Truth Button".

Adding upon the hard rock foundation, KingBathmat layers their sound with spacey effects and vintage keyboard licks. Particularly on the gorgeous extended instrumental segment of "The End of Evolution", the way these synths have been incorporated into the sound are incredibly effective, although these elements are used decidedly less than they could have been. Although these songs tend to reach for the infamous ten minute mark, they are each based around melodies that you'll likely find yourself humming along to by second spin. Although John's vocals are not particularly skilled from a technical perspective (his harmonies often run flat), he has a welcome warmth and sincerity to his voice, and a slightly nasal quality that works well with the band's alternative rock roots. Although the addition of the synths do alot to flesh out their mix, "Truth Button"s purely rock-oriented moments feel a little barebones. Although the tone of the guitar is rich, it generally feels too highly mixed. I get the impression that KingBathmat were trying to get the feeling of a raw, live performance across in the recording, the loudness of the album mix tends to distract from the more subtle details.

"Truth Button" is a solid exclamation that progressive rock can be accessible and even catchy. KingBathmat bring a strong set of compositions to this latest album, although their most promising progressive elements feel underused. In any case, KingBathmat successfully translate the progressive mentality onto the modern sound of rock, and that sort of thinking is something we need more of in the years to come.

Kingbathmat is a surprise.. sometimes I like it, sometimes I hate it... Why? Simply, the album does not fit any known category at all. The progressive moments are really different, sometimes strange, magic, but then we have some annoying 'Neo Pop Rock' like passages mixed with some good ones. I have to say almost half to half. If the 50% excellent was distributed to fill the album, 'Fantastic Freak...' could receive five stars, but these pop moments are there. Another surprise.. each time I listen to this album I like it more or like it less. This is unique for my ears, an album I can not review as good or as annoying, but this is also a nice characteristic of 'Fantastic Freak...' So, if you like surprises and can handle some seconds of bad pop rock, you will like 'Fantastic Freak...' a lot. Three stars for me is enough...

An excellent album that grows and develops with every listen, "Fantastic Freak Show Carnival" is a remarkably diverse affair. The record plays like a rock opera and joyously combines War of the Worlds-era Jeff Lynne with The Who, circa Tommy. The title track begins to contort towards a more Sabbath/Soundgarden axis before being dragged back into the more melodic by the Brian Wilson infused 'Rejected'.

The problem with KingBathmat is that they are hard to categorise, from the opening haunting rock of "Ghost in the Fire" through to the Steve Hackett/Steven Wilson esque backing harmonies and melody of Sweet Iris, there seems to be a difficulty in determining where KingBathmat stand in the musical arena, they become Progessive Rock on the last 11 minute track "Soul Searching Song", while easily slip into alternative modern rock on "King's Ransom", the former mentioned "Soul Searching Song" is an absolute stunner from begining to end, it evokes early porcupine tree at there most experimental but with the punch of a quality modern production.

Did I mention the sound quality? the production is of the highest standards, multilayered backing harmonies have a glorious warm surround sound to them (sweet iris, ghosts in the fire), and then at the other end of the scale you have layered sledgehammer guitars wielding fearsome riffs. Overall a one of a kind album that defies categorization.

"Roll up and join the queue / To the Fantastic Freak Show Carnival," beckons John Bassett on the title track to his latest release as KingBathmat. Perhaps Bassett wishes his summons could be an invitation to escapism like the Beatles song to which it alludes, but the claustrophobic, deteriorating environment of his music isn't easy to run from. Fantastic Freak Show Carnival's psych-arena rock -- big, blunt Bends-ian chords cuddled by extravagant ELO harmonies -- feels haunted from the inside out. Bassett (who performs all instrument duties on the record) has a flair for wicked hooks, which rear their infectious heads periodically: the electrifying "Ghost in the Fire", the ballad "Sweet Iris", and "King's Ransom", which contorts like prog and thrills like power pop. While KingBathmat's music is beautifully moody, it also tends to be overly indulgent at times: The 11-minute closing track "Soul Searching Song" comes off like King's X tackling 2112. Like all freak shows, this one's got some fantastic stuff if you can get past some of the squeamishly decadent.

Roll up and join the queue / To the Fantastic Freak Show Carnival," beckons John Bassett on the title track to his latest release as KingBathmat. Perhaps Bassett wishes his summons could be an invitation to escapism like the Beatles song to which it alludes, but the claustrophobic, deteriorating environment of his music isn't easy to run from. Fantastic Freak Show Carnival's psych-arena rock -- big, blunt Bends-ian chords cuddled by extravagant ELO harmonies -- feels haunted from the inside out. Bassett (who performs all instrument duties on the record) has a flair for wicked hooks, which rear their infectious heads periodically: the electrifying "Ghost in the Fire", the ballad "Sweet Iris", and "King's Ransom", which contorts like prog and thrills like power pop. While KingBathmat's music is beautifully moody, it also tends to be overly indulgent at times: The 11-minute closing track "Soul Searching Song" comes off like King's X tackling 2112. Simply put, Bassett's better left to the shorter, poppier stuff. Like all freak shows, this one's got some fantastic stuff if you can get past some of the squeamishly decadent.

To think that this album represents the work of just one man, is something of a mindblower. Ranging from lush orchestral pop to free roaming prog excess, Fantastic Freak Show Carnival sounds at times like an insane mash up between the Electric Light Orchestra, Led Zeppelin and The Verve while at other times like Mercury Rev jamming with Spiritualized. The opening salvo, GHOST IN THE FIRE, manages to mix skeletal guitar lines to ghost train style chanting in a song that sounds like Richard Ashcroft scoring an episode of Scooby Doo, while the title track FANTASTIC FREAK SHOW CARNIVAL is the sound of Liam Gallagher fronting Queen, while Rush offer some prog rocking advice in the background. After the bombastic opening, REJECTED eases into something of an introspective mood recalling Led Zeppelin at their most pastoral and gentile - although with controlled explosions into the big choruses, this is a mood that definitely has its swings. KINGS RANSOM, sees John Bassett continuing the anthemic prog rock offensive, this time melding The Beatles to Queens Of The Stone Age - a trick only slightly let down by some less than inspiring lyrical content and forced sounding vocals at times, while SWEET IRIS, is a dreamy Brian Wilson-esque slice of exquisite pop that is nothing less than sublime. Representing something of a misfire, SIMPLETON KNOW IT ALL, echoes those mediocre US college rock bands that seem to clog up teen-angst movie soundtracks like Sixpence None The Richer and The Wallflowers, all polish and pristine melodies, no feeling or soul. The epic album closer, SOUL SEARCHING SONG, weighs in at the impressive eleven minute mark and fortunately has the ideas and imagination to go the distance. Grooving between staccato prog rock guitar riffs, dreamy ambience and forays into avant garde instrumentalism via hard rock, this is a song that sounds like a million ideas thrown into one, blended together, spat out and then spiked with mind altering drugs - like The Beatles reinterpreted by Pink Floyd and remixed by The Orb. An impressively diverse and fascinating piece of work, Fantastic Freak Show Carnival is a record that is never anything less than interesting. Yes, it does occasionally lapse into weaker territory and the influences can be a little overpowering at times, but nevertheless this is an album that constantly surprises and pleasantly wrong foots you. At times more experimental and diverse than it is coherent and consistent, Fantastic Freak Show Carnival, is a fascinating peek into the world King Bathmat inhabit and as such represents something of a sublime curiosity. If you like the sound of Pink Floyd wrestling with Kasabian, then King Bathmat will rock your world - and the fact that this is the work of one man working on his own is a fact that can only let you dare dream where this sound can go in the future.