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Mostly Autumn biography
Fine progressive rock band who really should be in the Premier League, but are probably quite happy as an archetypal cottage industry

Mostly Autumn were formed in York in 1995, their roots stemming from local gigging outfits mainly playing Pink Floyd covers.

Most bios on this site tend to include, rightly, discussions regarding line-up changes, the loss and replacements of personnel with varying importance, and the impact upon said act. With Mostly Autumn, such a discussion would simply take up far too much space, would probably be incomplete, and, ultimately, of little value. Suffice to say that, since the beginning, there have been numerous line-ups of the band, but all revolve around the man whose vision the band was, and is, namely BRYAN JOSH, guitarist, vocalist, lyricist. Indeed, when celebrated lead vocalist, HEATHER FINDLAY, left the band in 2010 to concentrate on a solo career, and new family, she said in an interview with Prog magazine, without a trace of rancour, that the band's driving force and leader, to whom all centred, was Josh. Of the original line-up, only keyboardist Iain JENNINGS remains with Josh. It should be noted that, very sadly, original rhythm guitarist, and mainstay of the band to 2014, Liam Davison died in 2017.

In terms of the history of the band, a pertinent point to make about the ever-changing line-ups is that they appear to have been wholly achieved without any ill feelings on all parties' sides; indeed, many who have left have returned as part of the revolving door, this in stark contrast to the act to whom they are usually most likened, one Pink Floyd, of which more below. They have variously been compared to Floyd, Jethro Tull, Fleetwood Mac, Ritchie Blackmore's Rainbow, Blackmore's Night, Camel, Renaissance, and a myriad of other progressive, folk, Celtic rock, and rock acts. In truth, they are a band whose music encompasses all these influences without ever sounding like anything other than Mostly Autumn. They are unique.

The Floyd connection was, in fact, promoted heavily in 2004/05 by then record label, Classic Rock Productions, with the release of a live album & DVD entitled Pink Floyd Revisited, which featured a side of Autumn live tracks, and a side of Floyd covers. The promotion came on the ba...
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MOSTLY AUTUMN Videos (YouTube and more)

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White RainbowWhite Rainbow
Mostly Autumn Records 2019
$13.10 (used)
Sight Of DaySight Of Day
Mostly Autumn Records 2017
$20.56 (used)
Catch the Spirit: Complete AnthologyCatch the Spirit: Complete Anthology
Classic Rock Legends 2005
$21.66 (used)
Box of TearsBox of Tears
Imports 2015
$31.81 (used)
Classic Rock Legends 2003
$12.06 (used)
Go Well Diamond HeartGo Well Diamond Heart
$17.94 (used)
Music Inspired by The Lord of the RingsMusic Inspired by The Lord of the Rings
Classic Rock Legends 2001
$28.95 (used)
That Night in LeamingtonThat Night in Leamington
Ais 2011
$28.29 (used)
Dressed in VoicesDressed in Voices
Universal 2014
Story So FarStory So Far
Classic Rock 2003
$29.99 (used)
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2h 31m
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MOSTLY AUTUMN discography

Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

MOSTLY AUTUMN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.55 | 126 ratings
For All We Shared
3.75 | 147 ratings
The Spirit Of Autumn Past
3.97 | 211 ratings
The Last Bright Light
3.12 | 88 ratings
Music Inspired By The Lord Of The Rings
3.71 | 139 ratings
3.52 | 125 ratings
Storms Over Still Water
3.48 | 105 ratings
Heart Full Of Sky
3.44 | 115 ratings
Glass Shadows
3.48 | 115 ratings
Go Well Diamond Heart
3.76 | 118 ratings
The Ghost Moon Orchestra
3.84 | 185 ratings
Dressed In Voices
3.81 | 138 ratings
Sight Of Day
4.30 | 44 ratings
White Rainbow

MOSTLY AUTUMN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.09 | 33 ratings
The Story So Far
2.85 | 16 ratings
Fiddler's Shindig (Live Serie's So Far)
3.97 | 16 ratings
Live in the USA (Live Serie's So Far)
3.35 | 14 ratings
Live At The Canterbury Fayre
2.81 | 38 ratings
Pink Floyd Revisited
4.35 | 17 ratings
Live at the Grand Opera House
4.00 | 10 ratings
The V Shows
3.28 | 14 ratings
Storms Over London Town
3.45 | 12 ratings
Live 2009 - Part I
4.16 | 13 ratings
Live 2009 - Part II
4.13 | 27 ratings
That Night In Leamington
4.04 | 9 ratings
Still Beautiful - Live 2011
3.10 | 10 ratings
Live at High Voltage 2011
4.43 | 14 ratings
Live at the Boerderij
4.20 | 5 ratings
Box of Tears

MOSTLY AUTUMN Videos (DVD, Blu-ray, VHS etc)

3.86 | 22 ratings
The Story So Far...
3.50 | 8 ratings
The Next Chapter
4.23 | 18 ratings
Live at the Grand Opera House
3.67 | 22 ratings
The 'V' Shows
2.99 | 23 ratings
Pink Floyd Revisited
3.75 | 8 ratings
The Fiddler's Shindig
4.20 | 16 ratings
That Night In Leamington
4.55 | 11 ratings
Live At the Boerderij

MOSTLY AUTUMN Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.03 | 14 ratings
Heroes Never Die -The Anthology
4.46 | 37 ratings
Catch The Spirit - The Complete Anthology
4.70 | 29 ratings
Pass The Clock

MOSTLY AUTUMN Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.17 | 5 ratings
Prints In The Stone
1.97 | 8 ratings
Spirits Of Christmas Past
4.00 | 2 ratings
Mostly Autumn Acoustic - The Genesis Revisited Tour 2014


Showing last 10 reviews only
 White Rainbow by MOSTLY AUTUMN album cover Studio Album, 2018
4.30 | 44 ratings

White Rainbow
Mostly Autumn Prog Folk

Review by javajeff

5 stars This is the best Mostly Autumn album with Olivia Sparnenn, and she sounds fantastic. While Heather was a fantastic singer, Olivia really shines to the point it is hard to hear Mostly Autumn without her. Also, her duets with Bryan Josh are fantastic, and the two voices always provide much needed variety and complexity. Bryan has outdone himself with the compositions on this one, and the floydian guitar solos are always a main draw. Overall, the somber mood set by White Rainbow creates a vibe that is different from previous releases. From the fantastic cover, to every effort put into this album, it is a real winner. It is hard to pick favorite tracks on this album, but I would go with Western Skies and The Undertow if I had to. There are no fillers, and the album flows like a dream you never wanted to end. It is highly recommended. 4.5 stars.
 White Rainbow by MOSTLY AUTUMN album cover Studio Album, 2018
4.30 | 44 ratings

White Rainbow
Mostly Autumn Prog Folk

Review by franp

5 stars Joker move! Moslty Autumn has set the bar very high this year for the contenders for the title of best prog album of the year! This album flows from track to track like an endless river, without dead time, without excuse, without fault. Bryan Josh and Olivia Sparnenn deliver unforgettable voices to melodies that twist in the brain. Angela Gordon's flute in "Gone" comes from another world. Overall, the album tends less towards folk and more towards progressive rock. Or more precisely, the folk accents are integrated even more intimately than in the previous syntheses of Mostly Autumn. Even then the long title track is barely folky at all. Most of the tracks end with these Guilmouresque guitar accents that you never get tired of. Great work there ! The bonus CD is not as great as the main one, except for the extended version of "Gone" which is on par with the short version, and "Thanks". But there isn't a track of this B-side that I woudl rate lower than 4 stars, except for the hard "The Gardener".
 White Rainbow by MOSTLY AUTUMN album cover Studio Album, 2018
4.30 | 44 ratings

White Rainbow
Mostly Autumn Prog Folk

Review by astrophotographer

5 stars My first review and 5 stars? Absolutely, and no question. A recent convert to MA (puzzled as to how I've missed hearing till now) I've had this disc almost exclusively on my system maybe 2 dozen times since it was sent out to me in NZ, the pleasure increasing with each play. . I very much relate to Bryan's love of the mountains and outdoors, clearly evident in the lyrics ' to say nothing of the 'big skies' (astro boy here) that are spoken of. Similarly I warm to the heart-on-the-sleeve lyrics which add a great dimension to the (prog) sonics. And that is heart of this album, written for clearly a much loved friend and band member of many years, Liam Davison. Beautifully done. To begin, we have an opening 'Precession', the first bars with sparkling stereo delay creating expectation of great production and care, enhanced by the emotive whistles and pipes of Troy Donockley. A grand, proud welcome. 'Viking funeral' (an idea evidently that Liam himself had) with the opening keys immediately arresting the senses, then a device repeated through the album, moments of force giving way to unexpected, timeless peace. Two guitars soloing against a driving backline, then the first of many frisson (musical chills) moments as Troy adds to the aural charge. Track two just starting and my head is reeling with joy already. Oh boy, this is grand. 'take this hand with your invisible hand' is but one lyric of the high emotion, then another frisson moment at the guitar entry and a solo rich in bent note passion. Captivatingly, Olivia Sparnon's heart piercing vocals enter on 'Burn', magically matching the song's story, and rising to a phenomenal peak of intensity, another hair raiser. I've not enjoyed her vocals more, and that's a high bar. Her beautifully engaging vocals continue in 'Run for the Sun', and by now your heart and soul are open and know you're in for a great journey. It's s a brilliantly crafted song all in itself. With 'Western Skies', just when you're thinking you're settling in, it comes alive and dazzles even before the guitar kicks. . 'Into The Skies' keeps that momentum, and carries me away, away from cares where i can throw my arms wide open. Then, like the discs pervading contrasts of force giving way to stillness, we leave the open spaces to feel a torment, 'all out off heartbreak' but here is one who still finds their way 'Up'. Contrast and drama which continues the consistent and brilliant production. And now something very special indeed arrives with 'Undertow'', a masterpiece musically, so well played and performed, for my money,, a great exhortation to live life for the better. And then it's 'Gone'. The music follows the lyrics, evoking that gone is the struggle of life (previous track,Undertow) but also this is obviously returning to the theme, an undertow itself, of lament. Title track and 18 minutes, and a brooding rich introduction. Straight off let me say I've 'passed the time ... fire ablaze ... drinking' Old Peculiar at The Old Dungeon Ghyll, and it was raining (again). MA, you've nailed it. The tragic storm, the terror of it, the likes of this I have not experienced. You take me in there - 'as all the weather sinks through the floor' - with music of such descriptive power. Not an easy task, you even detail the calm before the fury. It's great music too, tragedy aside, the track is a great piece of strong imagery. Olivia shines strident (you'll need to hear it) with magnificent vocals again, lyrics of despair 'that will cut in your heart'' followed and complemented by perfectly placed growling drop tuning . Then, without any dialogue of the escape, we're safe, we focus on the family unit as they return home, where 'everything changes with you' and those hairs are standing up again , more so as the guitar soars it's outro. Bryan, how on earth did you manage to sing 'Young'', and yet you go all out and sing it so tenderly. What a tribute. Olivia with you just adds to the poignancy. 'check us out' - it's a farewell song of words absolutely from the heart, and oh the feeling of the end of a summer holiday, an end of the day album closer. Literal yet I also feel am invitation to relate, even if metaphorically ' 'your guitar was your heart, my guitar is my heart', then it turns to togetherness, and something happens in the peripheral left and right channels, and if you didn't have years in your eyes already .... I'm wrung out, this lesser known band has pulled me emotionally, with great music, from one extreme to another,, with a concept album rich in stories, a beginning, developments and a loving close.. There's not many albums do this, MA, you've created a masterpiece. Five very deserved stars and a top shelf space in my collection.
 The Spirit Of Autumn Past by MOSTLY AUTUMN album cover Studio Album, 1999
3.75 | 147 ratings

The Spirit Of Autumn Past
Mostly Autumn Prog Folk

Review by The Crow
Prog Reviewer

2 stars Second full length from the British prog-folk act Mostly Autumn!

This album is another good mixture between melancholic English prog rock, in the vein of Big Big Train and similar bands, with tons of Irish folk elements which reminds me to the first years of Mike Oldfield.

The music is overall good and the songwriting is competent despite some boring and repetitive moments. What's my problem with this album, then? I find Josh's singing just bad. Heather Findlay makes a good work in the album, but when he sings (and he sings a lot) the quality drops dramatically, making songs which could have been great just average, like in Through the Windows and The Spirit of Autumn Past.

And that's a pity, because this inability from Josh to sing his own songs spoils what could have been an otherwise good album.

Best Tracks: Winter Mountain (powerful and funny opener), Evergreen (the best instrumental work of the album) and The Gap is Too Wide (I especially like the folk elements in this one)

Conclusion: The Spirit of Autumn Past is not a bad album, but it contains too much minutes of plain bad singing from Bryan Josh, making enjoying this album very difficult to me. I just don't want to push play anymore with this one. Sorry guys!

Nevertheless, if you liked the band's debut, this album is in my opinion a bit superior in quality and maybe you should check it out. If you can bear the vocals!

My rating: **

 Sight Of Day by MOSTLY AUTUMN album cover Studio Album, 2017
3.81 | 138 ratings

Sight Of Day
Mostly Autumn Prog Folk

Review by The Jester

4 stars Review # 62. Since I discovered Mostly Autumn, almost 6 years ago, I fell in love with their beautiful music. Sight of Day is the band's new album, that was released a few months ago and is the band's 12th studio album. The recording was funded through a pre-order campaign. Those who pre-ordered the album, received a special double-disc edition of the album, limited to 2000 copies. For all the others there is a single-disc edition available. Although I have the special edition, here I will deal with the normal edition of Sight of Day. First of all, the album includes 10 songs and has a total running time of almost 75 minutes. All 10 songs are excellent, and I never felt the need to skip not even one of them. The album opens with the 14-minute-long epic Sight of Day, which shows to the listener that many things has changed since the release of the previous album Dressed in Voices. An excellent and a typical Mostly Autumn song, and definitely one of the album's highlights. Next, comes Once Round the Sun, with Bryan Josh on vocals and the upbeat tempo. Then, the soft and melancholic The Man Without a Name enters, which will sound familiar to all those who know the music of Mostly Autumn well enough. Hammerdown is another beautiful tune with Bryan Josh and Olivia Sparnenn sharing vocal duties. Changing lives is a pleasant tune, but it doesn't add something more to the album. The fans of the TV series "Vikings" will probably appreciate the powerful Only the Brave that comes next. Native Spirit is one more long song, including many changes, which is filled with energy and beautiful guitar solos. Tomorrow Dies is not bad, but nothing special either, followed by Raindown; one of the album's finest moments, without a doubt. The album's final song is Forever and Beyond, which although is a good song, it sounds a little bit "weak" after all these wonderful songs. So, let's try to sum up: Sight of Day is a wonderful piece of work, including soft melancholic tunes, mixed with powerful parts, great guitar riffs and wonderful vocals. The album's sound is rich. including instruments like whistle, violin, flute, tambourine, Uillean pipes, etc (Is there a reason to mention the "classic" instruments, like guitar, bass, etc?). As I mentioned before, this is an album, that you are going to listen from the first 'till the last song, without having to skip not even one song! Personal favorites: Sight of Day, Once Round the Sun, The Man without a Name, Hammerdown, Raindown, Only the Brave. Highly Recommended! 4.0 stars without a second thought.
 Sight Of Day by MOSTLY AUTUMN album cover Studio Album, 2017
3.81 | 138 ratings

Sight Of Day
Mostly Autumn Prog Folk

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Twelve studio albums in, with numerous live albums and DVD's slotting in between, and Mostly Autumn are still firing on all cylinders on their most recent set, 2017's `Sight of Day'. With the much- loved Heather Findlay-fronted version of the group truly behind them, the Olivia Sparnenn-led line up is sounding more settled in, inspired and determined to impress than ever, and while `Sight...' may not take the group in many surprising new directions, it shows them honing to near-perfection their expected mix of fancy folk, gutsy prog-rock and emotional vocal-driven song-writing. As always, Olivia and her hubby, the charismatic lead guitarist/frontman Bryan Josh, take the spotlight, but returning member/multi-instrumentalist Chris Johnson also offers welcome contributions that shine, and the album frequently turns out to be a true showcase for the sublime skill of keyboard player Iain Jennings.

Mostly Autumn play their proud prog card right from the opening multi-part title-track, and throughout its fourteen-plus minute length, the band offer everything from the most subtle of Iain's pristine and softly melancholic piano playing and moody symphonic keyboards, Olivia's passionate voice carrying the reflective lyric and Josh's slow-burn ever-building electric guitar reaches across a range of moods. It manages to include two big anthemic passages with both the `And it's the greatest show on Earth...' and `In the blazing sun the music filled the sky' moments proving hugely joyful and chest-beating with Josh and Olivia singing in unison, and they truly takes the piece higher and higher. Make no mistake - right from the first spin, it's clear that fans of the group are going to raise this one up as a Mostly Autumn classic, displaying a mastery of controlled build and expertly delivered drama, and it's going to be a cracker whenever performed live.

Moving on, the verses of the Bryan-led `Once Round the Sun' and his raspy vocal convey embracing `come-together' lyrics but the rest is a muscular rocker lying somewhere between Jethro Tull and Deep Purple with its shimmering Hammond organ and Alex Cromarty's tough pounding drumming, with just a pinch of Angela Gordon's twirling flute. The gently confronting piano ballad `The Man Without a Name' is an Olivia-sung low-key reminder to stay young at heart, and the initially acoustic and lightly bluesy `Hammerdown' lifts to life with a searing Bryan and Olivia shared vocal.

A welcome surprise, `Changing Lives' is written and performed by multi-instrumentalist Chris Johnson, and while it eventually pours on some grander symphonic synths and fiery guitar wailing, the sprightly and up-tempo piece holds verses sounding not unlike a track from alt-country singer Ryan Adams and the chorus is kissed by the radio-dominating version of Fleetwood Mac! `Only the Brave' is a hard dusty country-flecked rocker accompanied by Anna Phoebe's searing violin that bounces with buoyant momentum and reminds a great deal of Pink Floyd's `Sheep', but `Native Spirit' is the other big `prog' moment, a ten-plus minute epic. Pleading for the preservation of nature, old way-of-life and spirit, reflective acoustic guitar passages are contrasted with scorching electric runs, some surprising darker turns in the middle that lead towards dramatic symphonic strings and gloomy synths before a rocking loved-up finale backed to pounding drums and Andy Smith's pulsing bass.

Unexpectedly, `Tomorrow Dies' is heavily electronic and therefore dominated by Iain's keyboards, and it holds an Olivia-sung chorus that could easily sit alongside the poppier moments of German female-fronted indie-prog band Frequency Drift's `Over' album from 2014 (and listen out for a brief heavy flamenco guitar-like burst buried deep in the middle!), and `Raindown' is one of those fancy orchestrated ballad moments that Mostly Autumn deliver on all their albums, and sure enough Olivia excels throughout it with a powerhouse performance. The wistful and joyous `Forever and Beyond' wraps the album, an upbeat tune with an overly pretty melody that perhaps proves just a little too sweet, where the previous grander track would probably have made for a stronger closer, but all good!

As usual, this new album is also available as a limited edition double CD set with a thirty-five minute bonus disc. Of the seven tracks included on it, five of them are a showcase for Olivia Sparnenn-Josh being a collection of soft rock songs and classy ballads sung by her, with the soaring chorus of `Moments' and the optimistic (and quite unashamedly poppy) `In Time' being particular highlights. Chris Johnson delivers a sparse alt-country one-take acoustic tune `Pushing Down the Floor' that sounds like it could have come off Ryan Adams superior `29' album, but Pink Floyd fans will most dig Bryan's six minute Pink Floyd-flavoured instrumental `July'. With sparkling and delicately melancholic Rick Wright-like piano and weeping David Gilmour-esque guitar wisps, this beautiful piece could easily pass for an outtake from Floyd's `The Division Bell' album. This is a very worthy bonus collection, and would actually make for a fine EP all on its own.

`Sight of Day' ticks all the right boxes for a Mostly Autumn album, making it a winning collection of their accessible melodic arrangements with frequent displays of instrumental prowess, superior male-female vocal class and all the inward-looking soul-searching lyrics the group is known for. Curious newcomers wanting to hear a strong example of the band and their music could easily be recommended `Sight of Day', and long-time fans will also be in for a treat with a superb album that ranks up amongst their best releases. The prog-rock institution that is Mostly Autumn carries on, stronger and better than ever.

Four and a half stars.

 Sight Of Day by MOSTLY AUTUMN album cover Studio Album, 2017
3.81 | 138 ratings

Sight Of Day
Mostly Autumn Prog Folk

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars 'Dressed in Voices' was the long awaited return to form for the British prog-folk band Mostly Autumn, a fact that was recognized be all critics and fans and in order to further consolidate their position, the follow up 'Sight of Day' keeps the eye on the progressive prize. Lead singer Olivia Sparnenn-Josh is once again given a strong melodic platform to show off her considerable range and powerhouse delivery. She just may be the current prima donna (in the positive sense) of prog, at least in my humble opinion. This solid crew has been together for quite a while now and they seemed to have found their calling once again, focusing on crushingly attractive melodies sprinkled by some spectacular instrumental soloing from the fabulous guitar of Bryan Josh and Iain Jennings' ornate keyboard wizardry. The tight rhythm section of Andy Smith and Alex Cromarty act as the perfect motor for the band to pull of some masterful arrangements and thus create vivid, entertaining music of the highest order. Chris Johnson is the perfect rhythmic guitarist for Josh, liberating his gun-slinging technique with soaring, gliding solos that pierce the clouds.

The title track opens up the velvety curtains with a rather incredible 14 minute epic masterpiece that encapsulates the real essence of MA, a heady mixture of romantic and bombastic zeal that dives into exciting melodicism and bold instrumental play. Iain Jennings lovely piano introduces a dignified and confident vibe, setting the melancholic tone for a spiral of delicious sounds, seamless shifts and crazed soloing. Needless to say, Olivia sings like the wind, gently powerful when needed and utterly expressive.

Maintaining a luminous disposition ,'Once Around the Sun' offers quite a shimmering bombastic touch, with a Bryan Josh that winks at classic Roger Daltry (Who?). The melody has a little native Indian beat to it, a trait that will surface later in the track list, the organ in particular shining bright. Powerfully simple, immediately catchy and cool. 'Take care of yourself', he said.

The short but crushingly beautiful 'The Man without a Name' has Olivia showing her unbelievable voice, crystal clear and precise, vocal perfection in both delicacy and power. She has an almost Sarah Brightman tinge, a compliment of the highest order, I can assure you. Stripped down and pure, quite a gem to behold, with mostly piano as an escorting vessel.

What I find particularly appealing is their treatment of conventional structured songs, which they mould into something very much in their image, like the bluesy rocker 'Hammerdown', a raucous and fervent cry in the dark, that has classic rock stamped all over it, loaded with perspiration and muscle. Bryan Josh's voice crackles with emotion and his soaring guitar follows suite, screeching high and mighty like only he can.

Displaying incredible variety, the Chris Johnson-sung, produced and penned 'Changing Lives' surprises by fitting nicely within the overall framework , yet completely different from the other tracks here, a modern soft rocker that sizzles unashamedly, coming together as one, male and female voices in harmonious communion. Jennings' raging Hammond organ shudders violently as the overwrought guitars howl to the moon. Massive and feisty, 'Only the Brave' has wave upon wave of windswept bombast that incorporate some of Troy Donockley pipes and whistles. Early Mostly Autumn initially focused on strong folk roots, inserting a pastoral feel as well as eclectic instruments into their compositions and it's great to see that gift being added to a rather bruising and athletic rock track. 'Viking water, gods of thunder'.

Contrast that with another epic highlight track, a brooding and extreme splurge of sound, reliving native Indian lore, both in the instrumental envelope as well as lyrically. Bryan's focus on Canada is quite a stirring revelation, as my country certainly has the vast lands, 'mountains, trees and bright moons'. 'Native Spirit' is a fascinating track, replete with sweeping and dark orchestrations that keep the rhythmic thunder in check, a brilliant performance from Cromarty, pummeling like a feathered warrior on the war path. Both Josh's guitar and voice go way beyond the horizon, deep and trembling into the moonlit night.

Iain Jennings is quite the keyboardist, orchestrating modern swaths of sound in a most symphonic style as he did rather vividly once on 'Distant Train' off the Passengers album, so it comes as no surprise that 'Tomorrow Dies' is heavily clad in dense arrangements that highlight Olivia's authoritative vocal. Man, can this woman sing, or what? I still have goosebumps listening to this blurting yelp for salvation. Thrilling, expansive, shimmering and glittering. One of MA finest pieces ever.

Josh is a bad man, as he follows up with two more absolute killer tracks to finish off slaying my pleasure. 'Rain Down' hushes the deepest sentiments, violins in tow, evoking the majesty of Mother Nature's cleanse, both a torrent of rejuvenation and a cascade of satiation. Angels waiting to towel down the tired soul, momentarily drenched in emotional comfort. This track is so poignant, intensely vivid and heartfelt, a sheer joy to behold. Surely a concert highlight, perhaps even encore material.

Closing the book on this 73 minute extravaganza, 'Forever and Beyond' is simplicity incarnate, featuring a radiant and truthful ode to life and all its tribulations, bathed in a pastoral and folky setting. Perhaps hearkening back to their first album , 1999's 'For All We Shared', a time of rebellious discovery and artistic expression, this passionate vocal duet between husband and wife, soon to be father and mother, is as exhilaratingly personal as it gets and we are all blessed to be witnesses to all this impending joy. The feel is upbeat, smiling right and incredibly positive.

We all need music like this in today's screwed up world. Panacea, genuine art, passion-fueled music of the highest order, something anyone with a pumping heart can understand and ultimately feel inside of themselves. This Mostly Autumn ship will keep on flying'.

5 Visions of Time

 Pink Floyd Revisited by MOSTLY AUTUMN album cover DVD/Video, 2005
2.99 | 23 ratings

Pink Floyd Revisited
Mostly Autumn Prog Folk

Review by Tarcisio Moura
Prog Reviewer

5 stars I have to say I was appalled by the low ratings this DVD got (at least the first ones), since I have always loved Pink Floyd Revisited (OK, I got it: the title is really unfortunate, to say the least!, and misleading). In fact, when I bought it I was delighted because the band was obviously inspired by PF and the covers they played were very good ones, specially that they chose some more obscure tunes and decided to cover one of my fave PF songs, Echoes. Not too many bands have the guts to do this one and get away with it. In fact, I don´t know any other who indeed played this one in full. And remember, I am a big Floyd fan.

The second disc is Mostly Autumn doing what they do best: their own original songs. And both the quality of the material and the performances are also very high. So I had nothing to complain about this DVD. In fact, I wish they played more PF songs. They were respectful to their idols and showed they also had their own stuff to set aside any "cover band" label that some could bear on them. It was a tribute, from an excellent band to a legendary one.

A fine show that I wish I was there to watch it personally. I´m glad they recorded it for posterity. For me is a classic performance.

 Sight Of Day by MOSTLY AUTUMN album cover Studio Album, 2017
3.81 | 138 ratings

Sight Of Day
Mostly Autumn Prog Folk

Review by lazland
Prog Reviewer

4 stars Sight of Day is Mostly Autumn's twelfth studio album. There is a massive contrast between this and the superb predecessor album, Dressed in Voices. Bryan Josh himself describes this as an "album of light", whilst Dressed....was as dark as a black hole. When reviewing that album, I posited that it might act as a springboard to greater commercial success, because this is surely well deserved. I fear this might never come about, but, as a prog cottage industry, they seem to keep coming up with excellent product, adored by a loyal fan base, and there are worse positions to be in, I suppose.

This album is more of a traditional Autumn work, blending effortlessly pomp prog, lilting guitar bursts, with that folk backdrop which led me to fall in love with their work way back when I first clapped ears on The Last Bright Light. It is far too simplistic to describe the band as a Floyd influenced vehicle. Of course, this is there, but there is so much more to them than that. For a start, the beautiful violin of Anne Phoebe, and deep flute of Angela Gordon, backing a sublime vocal on the exceptional ballad, Raindown, before giving way to a huge Josh guitar solo supported by sumptuous keyboard work, is simply Mostly Autumn at their unique best. There is no other band capable of this track, and the wonder of it all echoes in your mind long after the track finishes.

The title track is the opener, a 14 minute plus epic which simply lifts the spirit. The sound is epic, and Josh produces a soaring mid section solo. This gives way to the type of thoughtful acoustic folk prog they have always excelled at, with a knowing nod to Autumns Past, before concluding with such a joyous and raucous celebration of life and sound. Bryan's wife, Olivia Sparnenn-Josh, is now such an integral part of the band that it is becoming difficult to remember when she wasn't there. Her voice on this, and everywhere else, delights at every turn, and my best wishes to the pair of them for the impending birth of the first Josh Junior.

What Olivia demonstrates here is just what a marvellous range of vocal techniques she has. From the sheer front on pomp of the opener, with vocal and guitar jousting between the two, we are treated to a fragility on the thoughtful, and questioning, The Man Without A Name, a track which features a deceptively simple piano lead and background keys and rhythm guitar. A joy, and a highlight of the album.

However, to treat this as merely the Josh family vehicle would be a mistake. There have been many lineup changes over the years, but Josh has always surrounded himself with quality contributors, and a very pleasant surprise on this album was to hear a written and performed track, Changing Lives, by the returning Chris Johnson. A damned fine track it is, too, with the male/female vocal interplay after "come together" being particularly pleasing. Johnson, by the way, also gets a production credit on this.

I have always enjoyed Iain Jennings' keyboard work, and this is highlighted to great effect on the co-written, with Josh, and rather dark, Tomorrow Dies. The keyboards, together with some thumping drum work by Alex Cromarty, create a track which is about as futuristic as the band will ever come. Olivia belts out a massive vocal lead, and I can see this becoming a firm anthemic favourite in the live arena.

It is fantastic to welcome back the hugely talented flautist and vocalist, Angela Gordon, Anne-Marie Helder having left to concentrate on Panic Room and linked projects. In addition to her contribution to Raindown, I love the recorder intro to the Norse mythology track, Only The Brave. It is a misleading intro, though, because the main body of the song rocks along at a rollicking pace, showcasing, in particular, a very strong rhythm section in Cromarty and Andy Smith.

From Norse mythology imagined around a camp fire, we decamp to Native American spirituality and love of life in Native Spirit. The denouement, with guitar, dark, looming, keys, and pounding drums & bass creates a massive wall of sound, and is a particular delight. Josh produces a wonderfully sensitive vocal in the lead up to the end passage, which crackles with emotion.

Talking of which, the album closer, Forever and Beyond, is a lovely paeon to lost youth, absent friends, and thoughts of eternity. It is a gentle love song which always stays on the right side of mawkish, and is Celtic to its very roots.

There is not one bum note or track on this album, a fine addition to a library bursting with great work. It is quite excellent, and highly recommended, especially to those tempted to dip their toes in for a first ever listen to the band.

Four stars, but an extra half if we had the facility for such a rating.

 Sight Of Day by MOSTLY AUTUMN album cover Studio Album, 2017
3.81 | 138 ratings

Sight Of Day
Mostly Autumn Prog Folk

Review by javajeff

4 stars This is their best album with Olivia Sparnenn on vocals, and an excellent album to compete with Heather Findley era material. I enjoy the last four albums with Olivia Sparnenn, but Sight of Day has the band hitting on all cylinders. Olivia gives an excellent vocal performance that is soft, sincere, and full of heart. Musically, this is likely the most proggy of the last four releases anchored with many long tracks starting with the 14 minute Sight of Day. For fans of Mostly Autumn, this is a must of course. With excellent musicianship and solid songwriting, there is something for everyone. Of course it would not be a Mostly Autumn album without many terrific guitar solos. I also enjoy the vibe with Bryan Josh on vocals as it provides variety for the album. Dressed in Voices was a very good album, but I prefer the longer song format in Sight of Day.
Thanks to ProgLucky for the artist addition. and to Lazland (w/ Quinino help) for the last updates

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