TIGER MOTH TALES

This is not bombastic prog, but rather is music that has been crafted and honed, and to be perfectly honest is simply beautiful. With a piano always the base, we find Pete at times somewhat melancholy, others joyous, and it was somewhat surprising to discover just how many songs sound influenced not only by classic Genesis, but also by Broadway. Take "Sweeter Than Wine" for example, it may sound at the beginning as if it could be from 'Wind and Wuthering', but it soon sounds as if it should be performed in a theatre somewhere. The feeling is even stronger on opener "Taking The Dawn", as after the violin which brings us in, there is the feeling that this is a lost Disney classic as it just has that feel about it. With so much of the album being acoustically based, there is a definite vibe about it, and a feeling of total class. There is little room for Pete to hide, and both his musicianship and vocal talents are on clear display for all to hear. It is an album which I can play all day, and indeed have been, and I find something new each and every time. The themes of the songs are of nature, memories of time spent with family and friends, plus deeper themes of depression, bereavement and coming to terms with mortality. The production is so strong that it feels as if he is in the room with the listener, and this together with the lyrics makes this an incredibly personal album, as if he is sharing his soul with the one person listening to him. Wonderful.

Don't expect complex structures in rhythm and instrumentation, this is an entirely song based affair, just accompanied by the crystalline charm of the strings accentuating the lyrical themes, which are, according to Pete: "the appreciation of nature, dealing with depression, good times spent with those we love, and coming to terms with both losing those close to us and our own mortality and place in the universe."

Tiger Moth tales have established itself in a relative short amount of time as a quality provider of progressive rock. With the majority of the music featuring nods in the direction of 70's Genesis and Camel as well as early 80's neo progressive rock, and with high quality and strongly appealing lead vocals and equally well made keyboard performances and arrangements as calling cars, this is a project and an that is easy to like and easy to recommend. That this production also features a couple of what one might describe as oddball items doesn't detract from that, especially when they are as well made as they are in this case.

In many ways I think this is one of the reasons I love Tiger Moth Tales so much, not because Peter sings about series I remember watching as a child, although thinking about it I was at junior school when I first read 'Wind in the Willow' ('Toad of Toad Hall'), as well as reading Aesop's Fables ('The Boy Who Cried Wolf'), but because he brings back memories of times gone by yet also brings them right up to date. He sings about my childhood yet combines it with the music of Steve Hackett and middle period Genesis, the music I fell in love with back in my teens. Now I am closer to 60 than 50 yet listening to Peter's music is like journeying in a time machine. The album is more than 70 minutes long, but still feels way too short, as I would love to have heard so much more. Peter is obviously really enjoying himself onstage and having a load of fun, as is everyone else. He has a very disarming manner, and just the way he speaks is like stepping back to the Seventies.

This is a great introduction to anyone who has yet to come across any of Peter's material, and if you are a fan of classic Steve Hackett combined with stories sung in a disarming manner by one of the most interesting guys around then this needs to be on your list.

The opener is just a half-minute instrumental featuring Emma Brown's flute, followed seamlessly by one of the three tracks of over ten minutes length, 'Winter Maker': a mellow and dreamy piece slightly resembling the Wind & Wuthering era Genesis. Besides the flute there's also a brass section, but it's Pete's excellent work on keyboards and his warm vocals plus the lead guitar guest appearance of Luke Machin that make this song lovely. 'Exposure' (13:36) based on Wilfred Owen's poem has nearly four minutes of instrumental serenity --that could grace some of the better Steve Hackett albums of the recent decades -- before the vocals enter. The composition's melancholic beauty reminds me of 'Ice', one of my dearest Camel instrumentals, but it increases, perhaps a bit unnecessarily, its prog dynamics with more rocking moments too.

My least favourite on this album is probably the Robin Hood themed 4th track, which features voice-over sections of Jamie Ambler to underline the narrative level. Also as a song per se it feels more cliched. 'Migration' returns to the slow-tempo mellowness with an autumnal mood. 'Take the Memory' is another excellent song, featuring a clarinet solo from Pete. 'Sleigh Ride' is a very enjoyable and fresh instrumental, again sonically resembling Genesis circa 1976, with the flute addition.

'The Tears of Frigga' is the other (and better) legend-based song co-written with Jamie Ambler. By the way, Pete's vocals remind me of Happy The Man, as well as the playing here and there on this album. The mellow and pastoral song 'Hygge' is one of the highlights, and I don't mind at all that it makes me think of 'Entangled' by Genesis. I recommend this beautiful 71 minute album especially to those who enjoy the quartet-era Genesis and the most pastoral side of Steve Hackett.

'Kai' is perhaps the most progressive fare to be found on the album. 'The Match Girl' shows Pete Jones in nostalgic mood using clever chording and the duet on 'Eternity' is equally as good.

It is almost as though the whimsy separates these stand out tracks.

It is immediately obvious that although Pete Jones is an immensely talented musician, there is possible a lack of depth that could perhaps be resolved by introducing a 'real' drummer into the equation.

However, this is an improvement on the first part of Story Tellers. Will there be a Part Three??

The album itself ain't too bad either, he has certainly matured since the earlier album (and now he's the keyboard player with CAMEL - some promotion).

But this one track is beautiful - set in 3/4, it ebbs and flows from peaceful to powerful, quiet to loud. On its own a definite 5 stars.

The rest of the album is quite clever with the intended bleakness of winter, including various nods to Steve Hackett and Frost. But when one considers that the whole gamut is performed by Peter Jones this then becomes nothing short of extraordinary (flute and brass excepted).

However, a very strong 4 stars - apart from that track Hygge (5 stars).

In case you're not yet familiar with this British band, it is basically Peter Jones, the gifted multi-instrumentalist, vocalist and songwriter (nowadays playing keyboards in Camel) and his co-musicians, three of them on this gig. Since 2014 TMT has released four studio albums that should appeal in particular to fans of Steve Hackett and Genesis in his era. The music has warm charm and often it's inspired by fairy tales. Or by wintertime and "yuletide" especially, as is the case with the third album The Depths of Winter (2017). My first acquaintance with TMT were, some years ago, two videos seen from YouTube: Pete Jones, a blind guy, doing a fantastic cover of the Genesis classic 'The Musical Box', and the lovely video of 'A Visit to Chigwick' that (I presume) uses some old children's animation to picture the peaceful life in a small happy village. The latter song is naturally present in this gig as one guesses from the title of the release.

The promo videos here aren't as unique visually, but they are a nice addition to the shortish live show. Three of the songs appear also on the gig, in a longer form. Each of the videos concentrates showing Pete singing and playing, often multiplied to play various instruments -- on 'Hundred Acre Wood' he's having an ironic dialogue with his double. 'Hygge' features footage of snowy winter landscapes and aurora borealis.

The gig sees Pete quite talkative in between the songs. That's one part of his deeply sympathetic nature as a musician. His songs are full of the similar melodic, pastoral and emotional charm, and delightful solos mostly for his synths, as Wind & Wuthering era Genesis. And there's also humour. For example 'Toad of Toad Hall' depicting the Wind in the Willows character really makes the listener imagine the frog's carefree joy ride ending in a crash.

Not quite worth full rating as the show could have been both longer and visually more spectacular, but this release will bring happy smiles to anyone already enjoying TMT's symphonic prog music, and it will function perfectly also as the first encounter with this lovely artist!

After the reaction to 'The Depths of Winter' Pete decided to return to the 'Story Tellers' concept of composing songs based on stories some of his favourite childhood authors, this time including Hans Christian Andersen and A.A. Milne. As well as providing all instrumentation and vocals, he decided this time to sing some duets with his long-term singing partner Emma Friend, which certainly adds an additional element of quality to what is already a stunning album, and her performance on the ballad "Eternity" is quite superb. Back in the day, it wasn't unusual for prog bands to record something light hearted and silly, from "Benny The Bouncer" to "The Hare Who Lost His Spectacles". All I can say about "Three Little Pigs" is that I love the Python-esque approach, especially the false starts to the song. I've played it multiple times, and each and every time I find myself smiling. I have a funny feeling this album is going to end up in my Top Ten for the year?.stunning.