GANDALF'S FIST

Gandalf's Fist were found by the duo of multi-instrumentalist Dean Marsh and lyricist/vocalist Luke Severn at ther university of Newcastle in 2005.Their influences came from the 70's Classic Rock, 70's Prog Rock and modern Prog Rock scene as well as British Folk, but the first two years were spent in recording more experimental instrumental music.They relocated later in Cumbria, working more on these compositions and adding constantly more progressive elements and their efforts appear on their first album ''The Master and the Monkey'', an indepedent release from 2010.

The first and longest composition of the album gives a good idea of Gandalf's Fist's music.An interesting mix of modern Space Rock, bucolic Folk and more hard-edged PORCUPINE TREE-like Heavy Prog with distorted vocals, tightly connected themes and a very unique atmosphere.The shortet tracks following are split between the two styles.Nice and vintage folky soundscapes with acoustic textures and even some Celtic influences and spacey, atmospheric and proggier pieces with electronics and sharp guitars in the forefront, having a very contemporary sound.But sometimes these tracks combine a dual offering of acoustic and electric motives, while the vocals continue to be slightly distorted, not being the best point of the album.The music though remains very deep and atmospheric all the way with radical changes between soft and intense moments.

Pretty decent debut for these telanted British guys.What this album lacks is only some sense of melody and a better vocal delivery, otherwise you have to deal with some very nice atmospheric Prog in ''The Master and the Monkey''.Recommended.

"From a Point of Existence" delves even deeper into the classic prog concept album theme that made our genre so polarizing, exalting some, exasperating others. I particularly enjoyed Gandalf's Fist's previous "Road to Darkness" and its "Wizard of Oz" imagery, a delectable album of wholly entertaining music, worthy of many immediate returns (the ones that make it to the automobile audio system, as I do have 6 speakers in my new Civic) . This is an evolution of sorts, denser, less obvious Floydian aromas abound, inserting old- school prog moves (see Gryphon, Deep Purple, Tull, The Doors, Gentle Giant, Ant Phillips etc..) but unqualifiedly exalting in a myriad of ways, with a few head scratches to keep one on edge.

Pastoral beginnings as the acoustic guitar takes the spotlight, surrounded by leafy adornments, introduce the story of William Small, a personage that will meander through the storyline, unabated. Ice cream maker by trade and lost soul by psychedelic standards, the tale weave its merry path, through a byzantine labyrinth of moods, styles and musical expression. The title track is a 16 minute+ mini-epic that takes hold right away and never lets go. The tracks are drenched in deep atmosphere featuring breezy singing from a fastidious voice in Luke Severn, with burnished instrumental enhancements ranging from the fragile to the frenetic. Dean Marsh is unafraid to keep the pot boiling, severing the existing tight parameters of Neo-prog with heavy space contours, in way like a milder Hawkwind, veering into distant realms and back to the comfort zone, seemingly at will. So was "Obscuration" and "Ascencion", so the aptly named "Purgatory" rages into meatier rock contours, rowdy mellotron and tactile synths howling behind the riffing guitars. This is no angelic realm, so unconditional is the pounding. On the next subsection, "The Fall" the melancholia is chaotic, almost paranoid and definitely lysergic, like a heavy- prog "Yellow Submarine" with balls. This will take a few sittings to absorb, a little bit too harsh for my lately romantic moods but great music, without a doubt.

"Gathering Clouds" is perhaps closer to the Road of Darkness sessions, sounding almost like a compliment to the sparkling "The Council of Anderson", it being the highlight track of their young career, in my opinion. But the tone is heavier, brasher and nastier, as if the band wanted a harder sound. Mind you, a gathering of clouds can often be an ominous affair, so they are sticking to their guns. There is a slight hint of 'Locomotive Breath' in the verses, sounding very early 70s and mind-numbing the listener into some form of submission. A clear guitar solo swerves into sudden hysteria, bluesy and rabid, flexible yet linear, finishing off hot and bothered (the way a darn prog solo should be!).

"There and Back Again" just does not do it for me, never a fan of overtly American-style pop balladry. But others do enjoy this. So be it but the Lynyrd Skynyrd dual axe blowout leaves me ill at ease. Not their style and it does not firt seamlessly into the mix. "Crestfallen" booms along like some fiery Exocet missile, nowhere nearly as gigantic and symphonic as the Anathema song of the same name but settles in compellingly into some danger zones. Good but not as great as I was hoping "Monolith" as the name implies keep the mood salty and sweltering, wallowing in a thundering surge of psychedelia, becoming the best of the last three tracks by a mile, with a comfortable repetitive riff that marches along obediently. My favorite track here.

The title track part 2 continues where the first left off, heavy machinery barreling down the prog highway, a 13 minute + stretch of that restates the original craziness but the style is not that far removed from more metal acts and that's what bothers me. It's just not my cup of tea, so I won't even criticize it, wholly unwarranted on my behalf.

Nice cover work. .

I definitely prefer "Road to Darkness" only because I have listened to it so many times, knowing it almost by heart and adoring it so. This heavier offering stays the course and is a pleasant addition to the previous masterpiece but I doubt very much it can ever hope to surpass it.

I guess it may need a few more spins......

3.5 wee Liam Chromosomes

Gandalf's Fist is another one of those bold gambles that a prog fan will occasionally dare to consider, a leap of faith as IQ would state in a musical form whereby a hitherto unknown entity has enough non-tangible appeal to elicit interest. Peculiar in being a duet with a multi- instrumentalist (Dean Marsh) and a vocalist (Luke Severn) and yet well within the very familiar Pink Floyd confines of musical trippiness, this is one of those typical progressive (old-school) journeys that is well crafted, with superb sound and production, great covert art and some damn fine songs clearly infused by the spirit of Pink Floyd, not the shabbiest of influences out there. The obligatory spaciness is there in spades, synths fluttering wildly in the mix, breezy guitar ramblings and some rock solid drumming. This is best exemplified by the seductive opener, a lush atmospheric intro that truly mesmerizes. Hypnotic soundscapes and electronic creativity. On the shimmering 'Emerald Eyes' the mood goes fluidly into interstellar overdrive (excuse the obvious pun) and firmly grooves deep within the warm Floydian zephyr. The serene vocals are mostly soft and vaporous, just like the Dave Gilmour we all know and love. A tortuous lead guitar foray stamps the deal quite succinctly, actually different from the Gilmourian experience. Sensitive voices, seducing with a scat female aria (yum!) and cloudy wisps of instrumental prowess. 'Conjuror of Things' is weirder, solemn and brooding, exotically decadent like a soundtrack to a warped movie ('The Wizard of Oz?' Yeah! I was waiting for a prog artist to cover such a classic story, bedtime fodder for the children) , except here, the arrangements take a multitude of swings and swerves , often dizzyingly so!

'Into the Dark' is the lyrical foundation of the theme espoused by the two artists and it succeeds in being both breezy and intense. It's the longest rack at a scant 7+ minutes but what a stunner! Folky essences collide with wider symphonic catharsis, sideswiped by some clever 'rock' moves! Excellent stuff, this! This is one of those 'sleeper' tracks so common in prog , divulging its real merits only after multiple listens. Deft is the drumming here (and everywhere really), foxily beefing up the opaque soporifics and boldly foraging forward. 'Twilight'' is a much more experimental composition, an astute platform for a sizzling and lengthy axe solo to freeze the mind into a moment of bliss.Lots of air and fluffy clouds in this one.

When a track starts off with a succulent bass motif, you know the blood will be boiling! 'The Sulfur Highways of IO' clearly flees any form of timidity, very 'stoner' in the special effects department, velvety carpets of sound and exceptional singing. A massive bluesy solo on the 6 string sets a cool, English country rhythm that is most appealing.

'A ballad you ask? 'Untrodden Ways' is a gentle folk lullaby with medieval overtones (flute and mandolin like guitar), a plaintive voice drenched in serene abdication. When you least expect it, the tune swings into raucous bullying, like at the Middle-Ages banquet hall where the drunken bearded troubadours hang out!

The title track veers into another domain, deep musical adornments emit an almost electro- jazz feel, careening synths speeding like Formula One car, never out of control. Brooding, foreboding and dark are the contrasts, spooky muffled and mangled vocals. The next level is the ultra Pink Floyd finale, all blended craftily and finalizing this track as another massive highlight.

'The Council of Anderson' is even better, a looping melody that sweeps ahead, unafraid, bluesy, breezy and resolute. Luke's vocals positively shine a voice that will need to be noticed by all. The bass, drums, keys and guitar work by Dean is compelling and often, well beyond the boundaries of sheer brilliance. The fretboard solo finale is whopping!.

'Assorted Lunatics' puts this puppy to rest, comfortably numb and utterly content. This brief piece is the most obvious Ummagumma here, floating sounds and fleeting voices, celestial, dreamy and effective.

A thoroughly enjoyable outing that will provide a great many future listens. Every track a delightful nugget of pleasant familiarity and highly creative material that stretches the boundaries of Neo or Space, quite originally under the circumstances.

5 Gloomy Avenues

Great. Balls. Of. Fire. What an absolutely cracking album. Whilst members of the progarchive community may recognise that Gandalf's Fist has hastily became one of my top 2 favourite bands, I should make a quick note that this album surpasses all expectations I had for the little Cumbrian duo and is an essencial piece of work that would fit handsomely and impressively into any prog lovers music collection. It is adventurous and diverse with lots of cheeky motifs one does not expect to come flying out of the laptop speakers, through the pantry, and into the sitting room whilst one is nonchalantly eating muesli - this is an epic and should be treated as such!

The introductory track made my organs feel a bit unsettled, but in a good way...the anticipation in this short sequence is incredible and opens for the marathon monster 15 minute + title track that makes even an M.D like me feel inferior to these two musical warriors. My favourite track (today at least) is 'There and Back Again', an obvious homage to Tolkien with a bit of an 80s ballad vibe - a great departure from GF's usual style but with excellent results! The simplicity brings the album back to earth in contrast with the complexity and mind-melting quality of some of the other tracks, showing the duo are not just your usual prog privateers, but instead are capable of bringing much more to the feast, in the form of a sprinkling of metal, a dash of psychedelic rock and a thin slice of cheese.

Equally impressive is the standard of complementary artwork for this album. GF's page narrates in some manner about some space age conspiracy story about an Ice cream man named William Small; the hallucinogenic ice cream and disgruntled robin takes me back to the day when music and art didn't have to make sense or have an 'agenda'... it just had to smell and taste like tangerines.

For those suffering from confusion over what constitutes as music nowadays, Dr Ball prescribes the PURCHASING of this album and 18 hours in the bath listening to it on loop, whilst pretending you are a giant and vicious sea worm breaking the balls of musical pirates.

This single is taken from their newest studio album entitled "From a Point of Existence" which I have to listen soon because I believe it has better things to offer than this single. For now, I downloaded this single for free from their website and had a nice but not so good time with these two songs that make a total time of ten short minutes.

"There and Back Again" is the title of the single, and of course the first song here. Honestly the vocals here are not my favorite, they sound very poppy. Acoustic and electric guitar, a slow tempo, some keys as background and the same voice during this five minutes make it in moments not so interesting, though at minute three a guitar solo makes everything better, however it only lasts for some seconds because later the music returns to its original sound. "Crestfallen" here is a radio edit version, though I would not really play it in a radio. It has some good moments, but overall I don't consider this as a memorable track.

I hope to listen to the studio album soon, I am sure as a whole is much better than these two songs as a single. For now, and I don't want to be mean, but this is only for completionists.

To be honest, I decided to download this EP when I saw someone posted about it, without previously knowing the band's music, nowadays I still have not listened to a full-length album of theirs, however I can say in this EP I've found a cool slice of what their music is about, and I like it. So you can go to their website and download it for free, its title is "The Wizard's Study" and features five songs that make a total time of 30 minutes.

It opens with "Emerald Eyes", the second shortest composition here. Since the first seconds we can find a relaxed sound, with delicate vocals, nice use of synth as background while the guitar puts some nice nuances. After two minutes we can listen to a nice guitar solo that goes very well with the rhythm. Nice one. On the other hand, "The Regency Rascal" is the longest track here, passing the 11-minute barrier. It starts with an environmental sound, water and then a violin reminiscent of mediaeval times. After two minutes and a half the music changes radically, now drums, guitar and keyboards appear in a kind of heavy neo sound. Later a female voice appears giving new textures; after six minutes there is a part I like where keyboards become for a moment more important. Then the music flows and gives us five more minutes of great quality.

"Maurice the Bat" is a nice instrumental piece that offers three minutes of acoustic guitar creating a fresh, relaxed and delicate sound. "The Council of Anderson" has again acoustic guitar but this time accompanied since the first second by keyboards creating some noises and atmospheres. The voice enters after a minute and the song begins to build up a structure that will be followed during a minute more. A guitar solo can be appreciated later, while the background is still relaxed; then at minute four there is a change, a heavier passage begins for some moments, because later it slows down again. Nice track!

This EP finishes with "The Unforgiving Sea" with a pretty cool sound, the first two minutes are instrumental and later a spoken word appears like telling a story, later the vocals changes and now they sing with a soft tune. I like how they intercalate the guitar solo passages with the bridges and vocal ones. Nice way to finish it. I like it, it is not the best music I've ever heard, but it is worth downloading. Now I will have to listen to one of their studio albums. My final grade, 7 out of 10.

Enjoy it!

I very recently discovered this band after one of their tracks was featured on the Covermount CD on latest issue of 'Classic Rock Presents: Prog Magazine' ? now simply called "Prog". I originally bought the issue on the strength of hearing a new track from north west proggers 'It Bites' and was pleasantly surprised to discover another Cumbrian group were featured ? Gandalf's Fist.

On the strength of the free track "Into the Dark", which to my ears sounded like jam-version of early Floyd, and was the second best track on the CD (after the new It Bites of course) - I downloaded the full album from iTunes and have thoroughly been enjoying the record with my morning stroll for the last couple of days.

The track "Emerald Eyes" sounds like the illegitimate child of 'Meddle' and 'Darkside' but yet carries it's own charm... I could put this track in my Floyd Playlist and to the unknown listener it would pass as some long discarded PF Demo.

...It defiantly sets the mood for the record and was what I was expecting after sampling the space-rock whisperings of 'into the dark' but there's a lot more to discovered here. With tracks like "the Council of Anderson" Gandalf's Fist start to carve their own sound ? awash with space-age synth, sci-fi lyrics and noodling guitar passages it really is a departure from the opening bars of the Emerald Eyes.

"Twilight at the gates of the prism moon" is a low-point to me ? experimental is all well and good but this track doesn't seem to progress the album, in fact in comparison to brilliant later tracks such as "Road to Darkness" and "Sulphur highways of Io" (both returning to the Floyd influences for brief sections) "Twilight...seems to be a bit of a let down".

No matter though because the shortest song on the album is also the best ? "Assorted Lunatics" - this song leaves me hanging for more ? seriously I wish these guys would hurry up and do a vinyl pressing of this album ? purely for this track. Twangling guitars, weeping leads and clever lyrics sum what I believe to be a very interesting release.

Some may find some sections too derivative ? I've heard this applied to a few bands lately, notably crippled black phoenix and Astra ? but for me it's refreshing to see some of these new young groups coming through showing some great influences and tributes to the prog days of old ? these guys are defiantly not trying to be the next "Oasis" that's for sure!

P.S. ? Special mention to track 7 - what the jove is this? Folk ballad? Heavy metal? Why are there pirates at the end?? Very Strange indeed... but then again ? I kinda like strange!

This is a fairly new release and as such i've rated at at 4 stars, in time this EP may well grow on me and it may creep up into the 5 star rating. If you've read my review of Road to Darkness (R2D), Gandalf's Fist's Last studio album you'll know that i'm a fan, this band from Cumbria UK have followed that up with a great little 30 odd min EP based in myth and legend of their home land bringing together a collection of songs about Cumbria and the Solway.

There are a number of nautical themed songs and some of the tracks on this release will be familiar to fnas of the band; Stakes at low Tide is a remixed folkier version of a track off of their debut album The Master and the Monkey and She dwelt amongst the Untrodden ways will be familiar to those who have listened to Road to Darkness, although both benefit from having a female vocalist as opposed to the male vocals on the originals.

The stand out tracks on this release are The Unforgiving sea, a spoken word almost Richard Burton voice tells the tale of ship being battered and driven onto the shore, with an awesome chorus which is catchy as hell! The Betsy Jane is a sea shanty, good and proper, here the "what shall we do with a drunken sailor" riff played over the chorus towards the end.

Gandalf's Fist have steered away from the Floydian sound of R2D and embraced something very rural and folky, Untrodden Ways from R2D has its hooks deep in this track and the Nautical theme continues through into by far the best song on this release.

The Regency Rascal, this song is an 11 min rollercoaster of music, its by far the heaviest song by the band, more Prog Metal in places than Prog rock, but with a calypso riff that catches you off guard, but that fits into the overall piece brilliantly. Deep layered female vocals and amazing guitar parts are littered throughout this track, the bridge and solo are incredible, its almost Maidenesque in parts and sounds amazing.

What are Gandalf's Fist? Are they Floydian Prog? Are they Neo Prog? Folk Pro? Or Prog Metal? Answer I have no idea, but what they are is Brilliant 8/10.

Hello, My name is Dr. Ball.

This is a cracking little collection of tracks, which all harbour their own individual and mystifying take on Cumbrian folk-tales. The first time I listened to this, I was reading through Mrs Ball's lady magazines with sheer boredom, and was thusly rescued by the titillating sound of the solway coast in musical form. In particular, 'the Beckfoot Gypsy" is an alluring track which truely makes one want to jump up and dance with the excitement of a million little pixies. The gentlemen at Gandalf's Fist have also introduced the very welcome female vocals on many of the new tracks, and as I always say to my nephew George - "George, there is nothing better than a woman's voice over some folky prog rock". Dr Ball only jests, but the statement is true all the same.

If you do not like this record, Dr Ball prescribes 6 chinese burns and a 9 hour flight in the seat next to an overweight gentleman.

I had no idea that this release even existed as it was not listed as a physical release on the band's official website... Indeed, I was made aware of this recording after listening to it's origins on the silhobbit proggy style podcast... and consequently investigated itunes!

After the Floydian vibe of Gandalf's Fist's excellent previous album "Road to Darkness" I was expecting more of the same and initially found this to be the case. "The unforgiving sea" opens like a nautical "shine on" before quickly shifting into a narrative passage that wouldn't be out of place on Jeff Wayne's war of the worlds. Coupled with an anthemic melodic chorus, this track has grew more and more on me!

Coming next is a folk version of "untrodden ways" from their previous release. This track really caught me of guard as it features newly recorded vocals from a female singer that are very different to the pirate-rock version I was used to... this is a straight up folk ballad now, and although not as 'rocky', seems more polished and soothing.

The nautical and folky theme continues as the next track is an out and out sea shanty! If there's one thing about this release is that it is eclectic indeed! Any fans looking for the neo-floyd sounds of the previous album may be very surprised indeed! And anyone thinking this band lacked variety or originality will be defiantly eating their words with this release!

We take a return to female vocals for the next two tracks: "Stakes at Low tide", which sounds like a mix between nightwish and Jethro Tull and my personal favorite: "The Regency Rascal".

With Regency Rascal, Gandalf's Fist have really rocked it up a notch or two - opening with sfx of a storm at sea we can hear drunken sailors and fiddles and flutes before segueing into an intro section that recalls porcupine tree's 'up the downstair'. Then for the next 10 minutes there is a flurry of riffs, fills, solos and folky breakdowns, all tied together with a catchy chorus hook! Not the GF I am used to, but boy is this epic!

The final track retires the female vocals and returns to (an almost wishbone ash) folk style... dark, moody and awash with tales of kings and battles!!

All in all, I have to say that I prefer the neo-prog stylings of Gandalf's Fist's other records, but for a stand-alone EP this is a very enjoyable listen and well worth getting for "Regency Rascal" alone. If you have not yet heard Gandalf's Fist then I recommend starting with "Road to Darkness" album... however if you already have that record then you'll probably be eager to hear the folk re-working of "untrodden ways" on here!

Conclusion: Good experiment GF but I, for one, hope they return to their Neo-Prog style for their next full-length LP! 4/5