Interesting new prog/prog related bands not on PA

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             Interesting new non-PA prog

Encircled –
The Universal Mirth

About their history. Encircled is a prog formation from the
Midlands in the UK, they have releleased three albums: The Gun Has Replaced The
Handshake (2014), The Monkey Jamboree (2017) and more recently The Universal
Mirth (autumn 2018). The band began a few years ago when Scott Evans (bass,
keyboards and programming) had been writing some songs and wanted to record
them, the first call was to Gareth Evans (lead guitar) who had been in a band
with Scott back in the early 90's called Epilogue (who were signed to Cyclops
records). The hunt for a singer was a bigger task and unknown to Encircled at
the time the band had been standing next to the solution at many gigs over the
years. Scott and a music friend named Mark ‘Busby’ Burrows had chatted many
times and at one gig it happened to mention they needed a singer and the rest
is history. Singer Mark about that historical moment. “Well, I’d got to know
Scott through basically seeing him at various gigs over the years (usually
Marillion and other prog bands). We often had little chats about music and life
and one day Scott casually asked me if I knew any singers. My response was
“Have you looked at my Facebookpage ?”, I had been singing and playing in
various bands since 1986! I must have done something right as a few days later
I received a CD of Scott’s songs that he needed vocals for. That was my
introduction to Encircled.”
About their biggest inspirations. All members are fans of
Genesis, Marillion, Pink Floyd and IQ. The personal tastes range from XTC,
Duran Duran, Talk Talk, Crowded House, Depeche Mode, Simple Minds and U2 to
Peter Gabriel, Fish, Roger Waters, Francis Dunnery, Geoff Mann, David Bowie and
Paul McCartney.  
About the music. This new album by Encircled is my first
encounter with this band so I contacted them for information, and I read the
reviews about their previous two albums, by fellow BM reviewer Erik Van Os. I
agree with his conclusion that their sound is in the vein of Eighties Neo-prog,
but I also hear strong elements of progressive pop on this new effort. Just
listen to the difference between the first and second track. The start is with
Log In : The Mystical Way featuring strong vocals and a climate that reminds me
of Kayleigh from Marillion (guitar work) but also Follow You, Follow Me from
Genesis (synthesizer flights). To me it sounds as progressive pop, very
tasteful and well crafted, with excellent vocals. The final part of this track
delivers short but awesome Mellotron choir drops. This turns out to be the
bridge between the first and second track, because the second mid-long track
entitled The Obsession begins with that awesome Mellotron choir sound. And now
IQ reigns, with bombastic keyboards and propulsive guitar riffs, top notch
Neo-Prog! Then the atmosphere turns into dreamy with tender vocals (strong
melancholical undertone), delicate volume pedal guitar and soaring keyboards.
Gradually the music culminates in more lush, loaded with voices (like “we are
in danger’), a pretty compelling final part.
The other six tracks also alternate between Neo-Prog and
progressive pop.
A slow rhythm with warm acoustic rhythm guitar and strong
vocals (evoking Duran Duran and Spandau Ballet) and a Marillion-like guitar
sound, the music is very song-oriented but in the end lush Mellotron choirs and
synthesizer flights in Past Times.
A sound between prog pop and melodic rock with pleasant
vocals and beautiful and varied  work on
the guitar in This Is Goodbey.
More music between pop and melodic rock with tasteful
arrangements (from tender piano and a moving electric guitar solo to beautiful
strings) in Smiling On The Inside.
Lots of variety ( from dreamy to bombastic eruptions) and a
lush Neo-Prog sound with sensitive electric guitar and majestic Mellotron in
the cynical 22 Likes.
First a sound collage and then a bombastic atmosphere with
female vocals by Kym Hart that strongly evokes The Great Gig In The Sky by Pink
Floyd in the short song A Fantastic Souvenir.
And finally the epic titletrack (close to 13 minutes), this
is Encircled (here with guest keyboard player Pete Jones) at their artistic
peak and an inspired tribute to the Eighties Neo-Prog bands Marillion, IQ and
Pallas. From dreamy to bombastic, and from warm twanging guitars to sumptuous
Mellotron eruptions, embellished with wonderful, often very moving electric
guitar (between Rothery and Holmes). The vocals reminds me of Alan Reed but
also Spandau Ballet and Duran Duran. The final part delivers a long and spacey
synthesizer solo, with fine use of the pichbend button, a Floydian touch to end
a wonderful and varied composition, drenched in the best Neo-Prog tradition!
To me this new album sounds as a mature blend of Eighties
Neo-Prog and prog pop: melodic and harmonic, tastefully and elaborate, topped
wonderful work on guitar and keyboards. But the main asset is singer Mark,
obviously inspired by the known names in Neo-Prog, progressive pop and melodic
rock. He manages to add an extra dimension to the compositions, with a very
natural and varied voice. Scott mentions this about Mark. "We have gone a
bit darker on this album. Mark has taken his lyric writing to a new level and
really explored darker themes , all relevant to today's cyber security paranoid
nation.”
This me this is an album to discover, if you are up to
discovering the boundaries between Eighties Neo-Prog and prog pop.
My rating: 4 stars.

Mark Rowen -
Radiance
Website info. “I have always felt this way ever since I was
first given a little acoustic guitar at the age of 8, which I promptly painted
light blue and hid behind the sofa. The first tune I was able to pick out, was
the mandolin line to Lady Eleanor by Lindisfarne. I heard 21st Century Schizoid
Man for the first time. I traded my clubs in for a black Les Paul copy. I
wanted to be Fripp. Lots of influences were absorbed over the next 20 odd
years, ELP, Marc Bolan, Wishbone Ash, Genesis and Paul Kossoff. Probably the
biggest step-change was then hearing and seeing Pat Metheny for the first time.
It had everything including musicianship of the likes I had not heard before.
An off-shoot of this was also the intriguing character and music of Django
Reinhardt. I'll gloss over the period of playing in various covers bands. A
leap through time to the 2000's and an opportunity to play original music with
a band called Breathing Space (an offshoot from Mostly Autumn) and with it the
chance to record a CD with some of the music I had composed. This was a great
experience, the album was well received and the plaudits were encouraging. When
Breathing Space ceased to be I felt inspired to try my hand at recording a solo
album, and after 5 years of hard work I can now finally say, here is my solo
album Radiance.” Mark has recruited his ex-Breathing Space bandmates Paul
Teasdale (bass) and Barry Cassells (drums) from Stolen Earth (that also hosted
ex-Mostly Autumn singer Heidi Widdop).
On his first solo album Mark presents 11 melodic and
harmonic songs, ranging from mellow atmospheres (with twanging acoustic guitar,
tender piano or spacey synthesizer flights) to rock guitar driven catchy
mid-tempo beats (with powerful Hammond and fiery guitar soli). Apart from the
instrumental opener Opening Move (powerful electric guitar and fat Minimoog
flights, in the end the sound of helicopters) and the alternating, very strong
epic composition Lure Of The Siren (vocals by Donna Marie Bottomley) the singer
is the outstanding Lisa Box, she easily switches from a wonderful dreamy voice
to powerful vocals in a rock climate. 
My highlights.
The Reason Why (6:55) : First a slow rhythm featuring dreamy
Hammond, piano and vocals. Then halfway sensitive electric guitar with fiery
runs, followed by a sumptuous atmosphere. This is tastefully coloured with
piano, synthesizer, Hammond, electric guitar riffs, it sounds very compelling.
Finally a propulsive raw rock guitar sound, Mark delivers strong and varied
guitar work, but the focus is on rock.
Lure Of The Siren (10:24) : This epic composition starts
with the sound of the sea, in a bit ominous climate, then twanging acoustic
guitar, dreamy vocals, soon the unsurpassed Mellotron joins with a majestic
choir section sound. Next a shifting mood with rock guitar, tight drum beats
and powerful female vocals, the flashy synthesizer solo is from Guy
Manning  (known from Parallel or 90
Degrees and The Tangent), along a biting guitar solo and strong riffs. In the
end a slow rhythm with synthesizer flights and again that awesome Mellotron
choir sound, fading away, what a varied and exciting track!
Love Is Like A Rock (8:17) : First a strong rock guitar sound,
blended with mellow Hammond waves, then a slow rhythm and dreamy vocals.
Halfway a sensational break with rock guitar, a powerful rhythm-section and
piano runs. It sounds first a bit hypnotizing, and then turns into  a bombastic mid-tempo featuring sparkling
piano, propulsive rock guitar and powerful drum beats. Now the mood shifts into
dreamy with piano and soaring keyboards, finally a catchy beat, culminating in
bombastic rock with fiery guitar runs, rock guitar riffs and keyboards. This is
another strong and varied track that showcases the excellent tunesmith skills
of Mark Rowen.
Shine (3:58) : This short final song starts with voices and
dreamy keyboards, then tender piano and vocals. Halfway a slow rhythm with
emotional vocals and piano, embellished with a long and moving guitar solo,
Mark shines in this beautiful mellow piece.
Mark Rowen has delivered a pleasant and varied first solo
album, with the focus on melodic rock, topped with strong vocals and tasteful
work on guitar and keyboards.
My rating: 3,5 star.

Alpesa –
Renacer

Spanish five piece formation Alpesa plays Rock Andaluz, the
unique progressive blend of the ethnic Andalusian art of the flamenco and
modern music (from rock and blues to prog, psychedelia and jazz). This
distinctive movement was speerheaded by Triana in the mid-Seventies, along
other excellent Rock Andaluz bands like Cai, Alameda, Guadalquivir, Iman and
Mezquita. Alpesa was founded in 1993, during the years the band released
cassettes and vinyl. In 2017 the band released its first CD entitled Renacer, a
compilation of old and new songs. From that moment Alpesa became more active
with concerts and on festivals. The current line up is Antonio Lozano (guitar
and vocals), Antonio José Martínez (piano and keyboards), Carlos Rodríguez
(drums), Antonio Prieto (bass and vocals), and Fernando Mateos (guitar), he is
the latest acquisition. Alpesa is working on a new album, the  band will make more use of his powerful
electric guitar sound.
Alpesa its Rock Andaluz sound reminds me of Zaguan, also a
new Rock Andaluz band that often covers Triana songs on stage, like Alpesa, but
more adventurous and varied. And I consider the lead vocals by Antonio Lozano
as more passionate (between Pepe Roca from Alameda and Jesus De La Rosa from
Triana), he really adds an extra dimension. Another strong asset is guest
musician Eduardo Trassierra on the flamenco guitar, with hints from the
legendary and pioneering  Paco De Lucia
(who had the courage to incorporate modern elements, like jazz, in the very
traditional world of the flamenco).
Most of the 8 tracks contains slow rhythms with a
melancholical undertone, fuelled by the excellent, flamenco inspired vocals and
the exciting flamenco guitar. Like in Tiempos De Ensueño (beautiful interplay
between the emotional vocals and intense flamenco guitar) and Que Mi Voz Suba A
Los Montes (passionate vocal outbursts and cheerful flamenco guitar – and piano
runs).
In the two songs Enamorado and Dinero the band surprises
with a reggae based rhythm (like other new Rock Andaluz band Mendigo) featuring
captivating interplay between an omnipresent organ and flamenco guitar,
embellished with strong, a bit wailing vocals, a nice contrast with the
swinging reggae sound.
My highlights.
Fantasia (5.54) : This piece starts with a mellow atmosphere
that contains dreamy piano runs and a soft bass sound, tender vocals and
intense acoustic guitar runs. Gradually the sound becomes more dynamic, topped
with emotional vocals, wonderful piano runs, virtuosic flamenco guitar runs and
propulsive electric guitar riffs that rock. Halfway a slowdown and then again a
more dynamic climate with moving vocals and flamenco guitar, propulsive
electric guitar riffs and finally the distinctive Rock Andaluz element in the
Alpesa sound: moving interplay between the flamenco guitar and vocals, with
that wailing undertone, the blues from Andalusia, unique!
Fuego De Ti (5.06): After a dreamy first part featuring a
slow rhythm with emotional vocals and delicate flamenco guitar, the music turns
into more lush with sparkling piano and propulsive electric guitar riffs. The
vocals sound very passionate, topped with awesome work on the flamenco guitar. 
Para Ti (4.51) : The final track is a very special one, a
duet from the singer and the keyboard player, with a Grand piano sound. The
interplay is outstanding, loaded with emotion, featuring sparkling piano work
and passionate vocals (with that distinctive wailing flamenco undertone), wow,
what a wonderful  Rock Andaluz ballad
(with echoes from Otono by Medina Azahara), and I am blown away!
Rock Andaluz is still alive, if you are a aficionado check
out this very interesting debut CD from Rock Andaluz formation Alpesa!
My rating: 4 stars.

The Adekaem –
Sound Colouring

The Polish prog formation The Adekaem was founded in early
2013 by Andrzej Białas (keyboards) and Krzysztof Wala (guitars ), a few months
later joined by Marcin "Budda" Pękała on bass and Dariusz Goiński on
drums. Hence the name of the band was created from the first letters of the
first four members written in Polish: A De Ka eM. From their start The Adekaem
was going to create music that was the result of musical inspirations, namely
progressive rock, psychedelic music and elements of classical rock and
jazz-rock. At the beginning a large part of their work was based on team
improvisations directed towards space rock. In 2015 the band released their
eponymous first album The Adekaem and in 2017 the successor entitled Sound
Coloring, by the independent label LYNX Music from Krakow (known for publishing
many great prog-rock LPs). After a lot of perturbations The Adekaem now
operates and creates as a duo: the prime movers Andrzej Bielas (keyboards) and
Krzysztof Wala (guitar), supported by professional musicians. They now have
finished creating material for their third album, and are looking for a publisher.
It will be even more surprising and uncompromising than the second album, and
The Adekaem will probably release a double album (the band recorded 130 minutes
of music on a demo). 
I am not familiar with their debut album but Sound Colouring
is a very pleasant first musical encounter. This band writes wonderful melodic
compositions with flowing shifting moods, between dreamy, mid-tempo and
bombastic beats, fuelled by a tight rhythm-section. Looking at the title I
conclude that the coloring of the sound is very tasteful: from tender or
swinging piano, soaring keyboards and acoustic guitar to fat synthesizer
flights. 
Especially the often David Gilmour (but also Steve Rothery
and Andy Latimer) inspired electric guitar solo deserve a special mention. The
use of slide and wah-wah in the instrumental Orcher (it sounds like an
'Eighties neo-prog tribute', especially Marillion). Very moving in the
alternating ballad Black. Sensitive and fiery in the varied and dynamic epic
Green featuring halfway an exciting break with Hammond organ sound, along with
powerful vocals. Compelling in the mid-long and beautiful build-up, White ,
topped with emotional vocals and classical orchestrations. And howling runs in
Red (with additional female vocal harmonies) and again very moving in the
instrumental final track Blue (beautiful dreamy keyboards). 
Like so many good Polish prog bands, The Adekaem delivers
very tastefully arranged, melodic and accessible progressive rock, with
neo-prog hints. The emphasis in their music is on creating pleasant and
compelling climates, rather than impressing with awesome skills on instruments
or complex rhythms and climates. The vocals are in decent English, with a
slight accent but not disturbing. I am looking forward to their musical development
and next effort. 
My rating: 3,5 star.

Laura Meade –
Remedium

Website info: “Laura Meade is a vocalist and songwriter
whose background in musical theatre helps define her unique approach as a
lyricist and musician. In 2007 she was diagnosed with MS and couldn't sing for
a while. She decided not to take the conventional medicines but choose the road
of herbal plants and healing, considered her new balance as a rebirth and went
for a solo career (after many years with the band IZZ). Meade's debut studio
album entitled Remedium combines her love of Art Rock with the emotion of
musical theatre. In addition to being a vocalist for the American progressive
rock band IZZ, her career includes performances around the world with many
different artists and on a multitude of stages. She has toured with Jason Hart
(Renaissance, Camel and I And Thou) and has been a part of the opening band for
Rufus Wainwright, Keren Ann and at Marillion weekends (2007 and 2011). On her
first solo album Meade is joined by fellow IZZ member and husband multi-instrumentalist
John Galgano and other IZZ band members Paul Bremmer, Greg DiMiceli and Brian
Coralian and guest musicians Randy McStine (The Fringe and Lo-Fi Resistance) on
Sunflowers At Chernobyl and Jason Hart on Irradiation.”
To be honest, I needed more time than usual (while listening
to promo CDs) to get into Laura's beautifully crafted, very varied music. Most
of the songs alternate between dreamy and mellow featuring Laura's gracefully
meandering voice, from tender and fragile to melancholic, slightly theatrical
and even opera-like (in Every Step), often in a higher range. She sings about
her personal life (from relations to her MS), sometimes vulnerable and
insecure, other times ironical or using metaphors, interesting to read. The 10
compositions are embellished with surprising musical ideas and breaks, and
strong work on a variety of instruments.
A jazzy piano in Conquer The World.
Sensitive electric guitar runs in What I See From Here.
Playing high and low chords on the Grand piano, this creates
a huge tension in this atmospheric instrumental The Old Chapel.
A beautiful acoustic guitar solo in Your Way.
And the use of the distinctive ukelele delivers a folky
climate in Home Movies.
We can enjoy harder-edged guitar work and powerful drums
that succeed to generate a lot of dynamics in Never Remember (from dreamy
vocals to a fiery electric guitar solo) and the varied and compelling Dragons
(bombastic and aggressive eruptions emphasizing the mental pain).
If you are up to Laura's distinctive voice and her
adventurous and varied 'Art-rock' compositions, this is an interesting album to
discover.
My rating: 3,5 star.

Edited by TenYearsAfter - July 19 2019 at 18:21