MATT STEVENS

Lucid is an 11-track album that has a 41-minute length. This time, Stevens has several guest musicians such as Pat Mastelotto from King Crimson, Jem Godfrey from Frost* or Stevens' bandmate Stuart Marshall from The Fierce and The Dead. Most of the songs are from 2 ' 4 minutes length, and one great epic that last over 11 minutes. Here, we will be delighted by a guitar-driven album, in which we will appreciate sounds from classical guitar, post-rock atmospheres, heavy moments and experimental passages. The album opens with 'Oxymoron' which is a heavy way to open the album, not like his previous solo works. This track has that nice combination of heavy rock and post rock. A great way to start Lucid!

'Flow' has the first let's-say-Crimsonesque moments, the guitar speaks from itself. It also has electronic drums and a repetitive but in moments hypnotizing mood. However, it is so short and then all of a sudden an explosion appears and we are already listening to 'Unsettled' in which that heavy post rock sound returns. I would not say it has a post-metal feeling, no, but it cannot stand in the lightest side of post-rock, mainly due to the distorted guitar and the bass. 'The Other Side' starts with acoustic guitar, I would say this is the typical Matt Stevens solo offering, I mean, with this track my mind totally goes back to Echo or Ghost, his first solo albums.

What I like of this album is that Stevens plays different styles from one song to another, so it is common to be listening to tender acoustic guitar in one hand, and immediately later been listening to a raw Crimsonian tune, such as The Ascent'. Here we can notice that he is not only a genius with acoustic guitar, no, he also knows how to make awesome and bombastic guitar solos. This track could perfectly fit in the KC Thrak album, go figure. But well, the next song 'Coulrophobia' is completely different. It is very calm, soft and atmospheric, one can close the eyes and feel relaxed here.

To be honest, that variety of sounds might be a double-edged knife, because you might think it does not have a defined sound; but on the other hand, you will welcome that vast offer of sounds that cannot be completely labelled. 'Lucid', the title track has a nice atmosphere that is easy to dig, with a sense of hope first, and then with distorted guitar it produces a raw sound. The acoustic moments return with 'K.E.A.', which works as a relaxer, I mean, here one take a deep breath and be prepared to the next song. Honestly, this is one of my least favorite tracks here. 'Street and Circus' is another of the typical Matt Stevens solo song.

'The Bridge' is the longest composition, the only one that reaches a two digit mark, with almost 12 minutes of nice music that is condensed in different passages. First it is rockier, but later it touches more the post rock fields and then they put more atmospheric nuances, in which the acoustic guitar makes us feel in another place, with a calm and beautiful sound. But then, all of a sudden drums and electric guitar appear again making a kind of alt rock / post rock sound. And the song simply flows with its different changes. The last track is 'A Boy', which is a nice solo acoustic guitar tune.

For those who don't know Matt Stevens' music, I invite you to do it, he has a lot to offer with his solo albums, and also with The Fierce and the Dead. Enjoy it!

While many of Stevens earlier solo albums have focuses solely or partially on his one man band style of acoustic based music enriched with samples and loops, this CD comes across as a firm step away from this past. The occasional acoustic numbers are still present, but by and large "Lucid" comes across as a production that merits a description as post-something I guess.

Wandering acoustic guitars with plucked light toned melody based guitar overlay are placed side by side with beefy, rich, distorted and dark guitar escapades with elegant, almost Frippian style hovering guitar solo details, more feisty, staccato riffs that may or may not point back to punk or early post punk have their place here too, gentle cosmic effects appear here and there, as do drones, nervous light toned guitar details of the kind that is a just about ever present feature in any post rock band you could name and even what sounds like a playful, Flamenco inspired theme or two. Ample variety in other words, and always with an emphasis on maintaining a good flow with logical but often unexpected twists, turns and developments.

Just about all the compositions are kept short and sweet, so that the ideas explored aren't exploited to the point of being tiresome or coming across as repetitive in a negative sense, and on the sole exception as far as length goes, the almost 12 minutes long The Bridge, Stevens transports us through a number of radically different sounding landscapes that ensures that the listener is able to maintain interest throughout.

Still, the most impressive piece of music for me is the title track Lucid. With a booming bass and solid rhythms creating a strong, hypnotic groove for Stevens adventurous guitar exploits, broken up by some unexpectedly effective intermissions, this is a highly compelling creation, perhaps not the most advanced nor the most adventurous, but a surefire choice for me if I would like to introduce a newcomer to the musical universe crafted by Matt.

If you enjoy instrumental progressive rock made with an adventurous spirit, Matt Steven's forth solo album "Lucid" merits a check, especially if you are the type of person that enjoys listening to a musician that explores a musical universe a bit outside of the most commonly visited grounds. A certain taste for music of the post-something variety may come in handy as well.

This wide-spectred British guitarist was a new acquaintance for me, nor had I ever heard of his band The Fierce & the Dead. Lucid is the fourth album under his own name. Its instrumental music - one could label it as Post-Rock - with lots of angularity and distortion often brings the latter-day KING CRIMSON to my mind. Many tracks are actually a bit too restless for my ears, but there are some contemplative nuances too.

Especially 'Coulrophobia' has some fascinating sound painting. Most of the eleven tracks last under three minutes, but why stretch them if the message comes effectively through in a shorter form? An exception to this rule is 'The Bridge' which approaches 12 minutes in length. Í would have enjoyed to hear more of this kind of diving into the atmosphere. Lucid is a personal and interesting album for challenge-seeking art rock taste.

(Perhaps with less subjetive approach my rating could be four stars...)

"Lucid" is indeed an album that is on target, but somehow varied, too. From delicate guitar weaves to grinding experimental affairs to massive post-rock epics, this album really has it all. Yes, I think Stevens uses his solo career as a sort of little black book for his random thoughts. Much of the album is experimental in some way, and there are many different styles and kinds of guitars utilized. From quiet acoustic moments to atmospheric eccentricities, and from organic and warm melodies to harsh ambiances and incredible finger work, Stevens explores a vast range of methods to battle the fretboard.

He's not in this alone, however. Stevens is joined by quite a cast of guests, including Pat Mastelotto (King Crimson) and Stuart Marshall (The Fierce & the Dead) on the drums, Jem Godfrey (Frost*) on keys, and many others from around the progressive world. They play a vital part in bringing this album to life, especially the guest bassists that add a deep, throbbing texture behind Stevens' guitars. What we get, then, are highlights that add new dimensions to the guitarist fantasies, creating a more vivid whole. Make no mistake, though, as "Lucid" is certainly about guitars more than anything else.

Experimentation is always good in the musical world. Sometimes, though, bands forget to write actual songs that will interest listeners. I don't believe Stevens has neglected this important factor on this album. The individual tracks are generally very interesting, though there are definite standouts. My very favorite is "The Bridge", a twelve minute epic that soars up and down using post-rock devices and plenty of atmosphere. There are other favorites, though, such as the slightly off opener "Oxymoron", the delicately ethereal and chilling "Coulrophobia" (fear of clowns), and the slightly folksy "The Other Side". Most of the tracks are actually only a few minutes long, believe it or not, but the album doesn't suffer for it. Actually, the album feels like a roller coaster ride of guitar delights because of this.

It seems that solo albums are often ignored, but I feel that ignoring Matt Stevens' "Lucid" would be a mistake. It pushes boundaries, experiments freely, and even has the balls to sit back and just play a good ditty. It's an album with no fear of critics, nothing to prove, and unfettered curiosity. Stevens really has crafted a delightful album full of emotional highs and lows, technical prowess and restraint, and melodic genius. Be sure to hear this one!

"Relic" is an interesting production by Matt Stevens, and while partially abandoning the concept of acoustic progressive rock of the one-man DIY variety, he does again showcase the strength of the acoustic guitar quite nicely. And while the arrangements are fleshed out with quite a few additional instruments on this occasion, the compositions themselves are all planned out on this instrument initially, unless I'm much mistaken. The end result is a credit to the creativity of this fine UK artist, and well worth seeking out for those with a taste for art rock that doesn't explore well known territories already frequently explored.

"Relic" has a nice combination of acoustic and electric guitar. Though the music might not be the perfect example of progressive rock, here we find a cool mixture of rock, with some jazz hints, and with an inherent post-rock feeling. This composition is excellent, several nuances can be appreciated here, and the emotional touch is also good. "Rusty" has an orientation to the acoustic guitar, creating a sound close to flamenco, without being flamenco, actually.

"20 GOTO 10" is a very good track. Here the electronic element is crucial because it does not disappear during its whole length. I like the different changes in mood and tempo, and how it is progressing until reaching a climax in both, the musical and the emotional side. With "Rushden Fair" comes a totally different track, purely acoustic, with the delicate sound that Stevens implements. "Up" gathers a vast amount of elements, several textures and nuances can be appreciated here. The sound goes from indie to rock, with some soft folkish moments.

"Spacegoat" has again that post-rock feeling with some spacey hints. It keeps like this for two minutes, then it slows down and add a beautiful violin sound that makes the music more emotional. "Sand (part 2)" starts really slow with acoustic guitar and a soft synth background, it continues like this for more than two minutes, until then the electronic drums appear. Then it keeps progressing and adding some odd noises.

"Frost" is the shortest song but ironically it is the most explosive, the only one that really contrasts because it has a powerful start that sounds like a metal track. But well, it only lasts for some 30 seconds and then it slows down and changes completely, but guess what, the explosion returns. The album finishes with "30 END" that in the other hand, is the longest track. It has a good melody, nice use of both acoustic and electric guitar, sometimes complemented by a synth background, sometimes just alone.

Well, this is a very good album by Matt Stevens that once again shows his talent as composer and performer, and though it is not my favorite of him, I liked it. My final grade will be three stars.

Enjoy it!

..... Hence, I expected a crossbreed between Bob Dylan and Genesis. Nice little cosy music over a Yorkshire pudding and a pint of Sheepdip Bitter in a nice pub together with some middle aged intellectual penguins from the local village.

That is everything this album is not.

Relic is not even a relic. Relic is music wise a heady mix of post rock, math rock, nu-metal, electronica, new age, space rock, jazz and some folk rock. In short; Matt Stevens has created his own universe. An universe more for college and university students than old penguins. This music is performed in a minimals setting with as few instruments as possible. The result is a very open sound where the melodies and the instruments gets plenty of space to breathe. Each tone gets enough air to really make an impact. Fans of Sigur Ros will like this type of minimalism. Matt Stevens distant relatives on Iceland would like this album because it has an Icelandic feel. But this album also dips into the white noise and avant-garde territory too.

The quality of the material is very good. This album lacks a real killer track which would send it into orbit. This is an album that deserve a bit maturing over time and I reserve my right to come back to it and upgrade my review in due time though. That's because there is complex stuff here I may not get when working to a self imposed deadline.

And yes, I would like to pay to see Matt Stevens live. But I would probably exchange the pint of Sheepdip Bitter with a glass of Australian's finest chardonnay white wine. I am sure Matt Stevens has a nice future ahead of him although he is not a Bob Dylan copy.

3.5 stars

Acoustic progressive rock isn't a type of music that surfaces too often, and for those who enjoy such productions Matt Stevens is an artist well worth checking out for past, present and future releases. He's creative and innovative, and utilizes his chosen tools in a good, effective and rather adventurous manner. And as such this one will be given a general recommendation to those who favor refined acoustic music, and prefer it served with a liberal dose of art rock flavoring.

This is what I would say about UK composer Matt Stevens, whose music is based in acoustic guitar. His compositions are very original, well-structured and designed to catch everyone's attention, he caught mine since the first time I ever listened to his music, he really knows how to use that acoustic guitar and how to express with it. Back in 2008 he released his album entitled "Echo", which consists of ten compositions that make a total time of 33 minutes, so as you see, all of them are short tracks, but with high quality.

"Burning Bandstands" is the first song here which curiously happens to be the longest one, the only one that passes the four minutes length. Since the first moments we can appreciate Stevens' style and feel attracted by the sound, which is calm, charming, promising and enjoyable. "Airships" has that inherent Spanish feeling, here also can notice that he also uses the guitar as a percussion instrument by delicately hitting at its body. It is great to listen to different guitars used as back and foreground.

"Drama in the Coals" follows the same path as the previous one, actually I would say the sound is pretty alike in most of the tracks, which does not necessarily means it is repetitive, I actually would say this is Stevens' style and that's it. "Flies in the Basement" is one of my favorite tracks, with an Andalusian style, mixed with some kind of jazzy tone, reminding me a bit of Paco de Lucìa or Al di Meola. Wonderful track.

"Snow part 3" is a shorter track, and with a different style, a more melancholic sound, even sad and disarming at the same time, like a moment of reflection. With "Chasing the Sun" the music returns as the style we are used to. Nice acoustic guitar harmonies, cool repetitive background and an always constant and interesting foreground.

The name of Rodrigo y Gabriela also came to my mind while listening to some Stevens' pieces, it would be cool if they three gathered together for one night and make a glorious acoustic guitar trio. "Spencer Park" is another shorter track, with a calmer sound, a nice structure and some additional elements that makes it richer. One can be listening to this and feeling relaxed, happy, pleased.

"West Green" might be a kind of reggae-classic-acoustic track, mainly due to the friendly rhythm. The last part has also some nice spacey effects. "Jubilee" may be more of the same, the first seconds with the hit to the guitar's body, and later the stringsbeing played with high quality, once again. And finally "Dolls house" which is another of my favorite tracks, a great way to finish the album.

Matt Stevens music is great, I really like his style, though "Ghost" is still my favorite album (and better than this, in my opinion) I am happy with "Echo", a cool album whose music may appeal to any prog lover. My final grade will be three stars (3.5).

Enjoy it!

Matt Stevens is a very talented multi instrumentalist who has been making quite a few waves in the progressive rock community in recent times. This superb album, released last year, received a glowing review from Classic Rock Presents Prog, no less, and he is clearly a very busy live artist as well. If you can, get his Live In Blackpool album from his Bandcamp site.

Whilst, I suppose, the multi instrumentalist tag will raise the inevitable Mike Oldfield comparisons, do not be fooled, because, if anything, the closest I can describe this man's music as getting to is Anthony Phillips, formerly of Genesis fame. This is meant as a deep compliment, because this is primarily a guitar led album which reminds me in so many ways of some of Phillips' finest moments such as Field Day. Stevens manages that extremely difficult trick of making acoustic and non vocal music remain interesting for the duration, and no better example can be found than in the cracking pace of Big Sky, built around a simple acoustic chord, but with such a pace and variations found in the effects at the end to make you smile in wonder at it all.

The previous reviewer rightly, in my opinion, drew comparisons between some of the music on offer here and Radiohead, although, in my opinion, it moves way beyond that. Whilst, these days, Radiohead tend to make me feel rather despairing and miserable, this doesn't. The bright percussion and simple, but effective, bass riff accompanying the Greenwood- esque guitar on Eleven is perhaps the best example. It's cheerful and uplifting.

Just about my favourite track is Draw, featuring some extremely clever acoustic guitar work, bright and uplifting, set against a lovely jazzy drum and bass backdrop. Effects towards the end bring a very eclectic feel, and it is here, I think, that my only note of criticism comes to proceedings. I love Stevens' acoustic guitar work, but I do feel that future offerings might wish to explore tracks which feature, for example, samplings, bass, drums, and other instruments more to the fore, if only to "mix it up" a little more.

For example, I love the percussive work on the longest track on offer here, Lake Man. It is a marvellous piece of music, with some very nice effects which, in my opinion, should have been more to the fore alongside the stunningly simple, but supremely effective, percussion beat. That said, you do rather marvel at the guitar playing. Similarly, I love the glockenspiel on the mellow Glide.

The final two tracks, the title track itself, and Moondial, finish off proceedings in a very strong manner.

Ghost creates a mood and a soundscape that cries out at you that there might just be something, or somebody, watching you. Far more satisfying than any of the mad psychic frauds you see on telly in bringing you closer to the "other side".

Moondial has a cracking riff attached to it, and I wonder just how much more it would have achieved with a little more "electricity", for want of a better phrase.

I have no hesitation in awarding this album four stars. It is excellent, and it is, to me, refreshing to hear a new artist bringing this approach rather than some of the interminable doom laden metal that seems to be particularly in vogue at the moment.

Very highly recommended to all who appreciate Phillips, Hackett, and Fripp in his more ambient moments. I think that this man is capable of bringing a genuine masterpiece to us in the not too distant future, and I think this will be done by bringing a work based around the full range of his obvious musical talents, rather than a pure acoustic guitar led album, as pleasurable as that undoubtedly is.