C SIDES

For many people, progressive rock, in the truest sense anyway, means keyboards, odd time signatures and long instrumental passages. If that is how we are to define prog rock, then this album fails that test. This band (later known as the C Sides Project) were made up of former members of Magenta (Rob Reed even apparently played some kind of role in getting this off the ground) and were inspired by Rush (particularly early Rush apparently). However, there isn't really much of a Rush sound here to my ears. In my opinion the only real similarity would be the heavy guitars. That's not to say there isn't good music on here but to me it sounds more like Alice In Chains or some other 90s grunge or hard rock band than classic Rush. If we are going to compare it to any Rush I would say it would be most similar to their Vapor Trails album. I'm not a big fan of that Rush album maybe partly because of the lack of variety (and lack of keyboards). In my opininion, this one is maybe just as good if not better than that Rush album.

For a first release in particular, this is a good modern hard rock album with some minor prog elements. It's well done but it probably won't make anyone throw away their King Crimson or Yes albums. Maybe it will grow on me (or you). 3 stars.

Ah, the slippery slopes of perilous prog adventures! As any seasoned prog fan knows only full well, timing is everything! How many times has a new album landed in our lap, with a certain level of trepidation, only to disconnect from the hopeful pleasure it should be producing? Every kind of circumstance can alter the experience, from the album cover being misunderstood, the time of day, whether its raining or sweltering, or being simply in the wrong receptor mode. I took a plunge on Southern Welsh band C Sides and their album We Are Now , mainly for 2 reasons. One was clearly the presence of former members of Magenta and the second, being the gorgeous cover art (a common sport back in the glory days of vinyl, when many in the 70s bought an LP only because of the wild artistry). Well, suffice to say, it was an underwhelming encounter, and I was probably a victim of my own expectations and hence, shelved it, to be revisited later. Fast forward to early 2022 and getting "Different Plane", after reading a rave review from mein lieber Uwe and reading about the subject matter being WW2 (my 50-year-old hobby). This is the second part of a two-segment epic, initiated as "Purple Hearts Corner" which was recorded in 2020. The basic storyline is quite well-known in the history community as it relates to the 1943 Franz Stigler /Charlie Brown incident, showcasing chivalry, empathy, honor, and courage. Luftwaffe pilot Franz Stigler refused to shoot down a flak damaged B-17 bomber piloted by Brown and actually escorting it to safety. Brown and Stigler became post-war friends, quite the narrative. There are numerous videos on You tube should one be interested in the definition of humanity.

Fittingly, the 9-minute thriller "Stigler" propels his Messerschmidt BF-109 through the proggiest blue skies, a progressive rock masterpiece of seduction, verve, panache and elan, very much equal to the story line. All the sultry ingredients are present, sensational guitar licks from Martin Rosser, subtly modern and creative keyboard interventions by Kevin Dawson, Allan Mason-Jones' burly drumming as well as elastic bass and truly stunning vocals via Allen McCarthy. Sian and Lucy Elson supply the soulful harmony vocals that are surely one of the hallmarks of this release. Moody, gripping, intense and fascinating, this really got me hooked solid.

The next track keeps thrusting forward with impunity, "Crossing the Rubicon" showcasing the impulsive choice to be either a ruthless hunter or an empathetic human, and let fate take one where it may. The decision is taken with a surge in power as the main riff kicks in, chiming synths echoing wildly, and then, a fluctuating reversion into a friendlier atmosphere, still highly charged as flames are darting out of the wounded American bomber.

Laden with swirling effects and a turbulent guitar phrasing, "Circles" lays down a bouncy bass line that sets quite the groove as McCarthy grabs the microphone with his world class soulful voice (think Paul Carrack or Colin Blunstone), as the organ insists, the tremendous backing vocals support, the drums settle and both the guitar solo and the synthy one whistles through the air. The premise is that Stigler is circling around the wounded plane, offering reassurance and protection.

The title track is "Different Plain" (or Plane), a poignant track where the female vocals are pushed to the forefront briefly, but loaded with a lot of confusing rhythms, crashing swerves and an anxious ticking clock. What will be our fate? How long can we endure in a burning aircraft, barely flying and helpless?

Flying just over the waves at "250 Feet", this is an even more dramatic tune, hyper and emotional with an almost funky groove, mostly due to the suave harmony vocals. They are on the way to ultimate rescue and survival, escorted by their "enemy" to eventual safety. "Hope you make it" thought the German as he peeled off and returned to base. He later stated" I didn't have the heart to finish off those brave men. I flew beside them a long time. They were trying desperately to get back home, and I was going to let them do that".

"Friends": Charlie Brown and Franz Stigler became close friends between 1990 until their deaths in 2008, only a few months apart. Gulp! This is not coincidence but fate, brothers in arms but from opposing sides, the most valorous kind. A gentle acoustic song of incredible elegance and angelic simplicity, touching lyrics and heartfelt melody (a bit like Dust in the Wind), discreet symphonic keyboard backing and gorgeous female and male vocals. Moments in time, cold memories from the past, communion of thought and action, eternity together, deliverance. Sublime.

The finale is "Beneath the Sky" serves as a recapitulative reprise, encompassing the whole saga in one song. The combination of danger and salvation, of humanity in war time and the fear of dying, all these emotions encapsulate this piece, a shiny guitar solo screeching all the way back home, egging on both antagonists. Heroes, like Bowie would intone.

A truly magnificent album, musically and historically. This is what prog should always aspire to. I look forward to reviewing the previous part1 album "Purple Hearts Corner".

5 distinct judgments

Eh, Plain or Plane? Just let me note that I already was impressed by the prior release, fortunately detected in 2020. That was the kick-off for a thematically related two album project. Of course also suffering from some COVID-19 trouble in between concerning the logistics, what has slowed up things a bit. Now 'Purple Hearts Corner' was dealing with a somewhat ambivalent issue. The story turns around a B-17 bomber sent to Fascist Germany across the English Channel during Second World War. And so, at first, I was puzzled due to the new album title. A deliberated typo? Probably it will be kept as a secret forever and ever. The first song on the new album then directly points to a different plane. The potential attacker, German Messerschmitt pilot Franz Stigler. This at least makes sure, the story will be continued, probably even underway in Italy too. But I have to confess, while not having the lyrics at hand, it's a bit difficult for me to profoundly follow text content related.

Anyway, concerning the supplied music this is on a high level again, partially tending to an eclectic attitude. I do smell a proper experimental approach in this case, considering that some of them are deriving from the more easy-going Magenta family actually. Yep, Crossing The Rubicon and the album's title track are proving that without fail, take your time. Thus you will board a pleasant lift here. Missing any enemy in the end, and without a permanent altitude of solely 250 feet. Would be a bit dangerous, or what? Composition and instrumental free flight masterfully combined. The line up as such remains stable. But the album features more, yet rather spectacular female vocals, delivered by Sian and Lucy Elson. 4.5 stars, a really touching album. Released through White Knight Records in November 2021, this is an absolutely recommended release, at best as a bundle including co-twin 'Purple Hearts Corner'.

My first pleasant surprise this year 2020. Let me start with the résumé right now ... a real prog showpiece is ready to announce, no ifs, no buts. Stunning compositions, hot entertainment, tension, excellent musicianship, emotive vocals. 'Purple Hearts Corner' comes as their fourth album meanwhile, and I dare to say they have reached peak form here. Hailing from Wales the band is driven by core members Allan Mason-Jones (drums) and Martin Rosser (guitars), alongside with Kevin Dawson (keys) as well Allen McCarthy (bass, vocals). Female singer Sian Elson is aboard again, though somehow taking a backseat on this occasion, that said more restrained, providing fine background vocal harmonies predominantly.

You may recall some Magenta relations here and there, yeah maybe, albeit this is rather individual overall. Where the flow appeals, from end to end. And that counts. 'Purple Hearts Corner' is running throughout the wide border area of art and neo prog, though equipped with psychedelic respectively ambient elements too. The album title is pointing to the concept behind, necessarily. The story deals with a B-17 bomber sent to fascist Germany across the English Channel during Second World War. That means reflecting moments of awful fear, pain and tragedy. Now it makes sense if you are recognizing aircraft noises, marching drums and synths howling like sirens within this matter.

Nonetheless, or you may say even for that reason, the frame is set to the benefit of passion and playfullness. They are offering five songs, nearly all are taking the ten minute hurdle with ease. If distributed on different albums every single one on its own would reach for the particular item highlight. Now the plane is starting ... final flight, or not? Into Clouds is mirroring alertness, suspense furthermore - a very cinematic implementation. Concerning the song Bremen one may think of this as the homebase of the famous town musicians with innocence. But the title is target too, and related to the mixed feelings of the bomber pilot regarding his mortal instructions.

There are psychedelic guitars given on Engine Down, which evolves into a thriving groove soon, accompanied by striking riffs. Gripping, unpredictable, the closing title track is meandering as well as rocking through that main uncertainty with ups and downs, plus litte dissonance occuring. The story splendidly set into music. Yep, this is sophisticated melodic prog, stylistically close to The Far Meadow, Red Bazar, The Paradox Twin, if you will need some rough orientation. Considering the conceptual background not an easy case. But the band have succeeded to deliver a really compelling effort, a pleasant relief. Melody, heaviness, catchy repetitive motifs, nice piano lines, samples, all put together with inspiration. Chapeau!

The C Sides Project, originally known as just "C Sides", was founded in the early 2010s from 3 ex-members from "Magneta". In February of 2020, they released their fourth full length album called "Purple Hearts Corner". Two of the original founders, Martin Rosser (guitar) and Allan Mason-Jones (drums, percussion) are still with the band who is also made up of Allen McCarthy (vocals, bass), Sian Elson (additional vocals), and Kevin Dawson (keyboards, piano).

This album is made up of 5 fairly long tracks, and follows their usual sound (as of late) of a light progressive sound that sits somewhere between Neo-prog and Crossover Prog. You'll definitely get that impression with their first track "Fields" which tends to follow a main thematic element that doesn't veer to far away from its main melody. It's good music, but doesn't seem to offer much in the way of groundbreaking and doesn't try to challenge the listener too extensively. "Into Clouds" shows a bit more ingenuity with a nice piano solo introduction which finally brings in a more progressive theme after 3 minutes, utilizing a start/stop section that builds up a bit of excitement. The music is interesting, but tends to get bogged down in its efforts to present a progressive idea. The guitar finally gets to settle things into a more straightforward rhythm, though with a bit of complexity to it, but now it tends to lose a little steam as it utilizes a boring, ascending riff that finally brings in vocals around 6 minutes. Unfortunately, the lead singer sounds a bit bored, and adding in layered vocals doesn't help. Real excitement doesn't really appear until deep into the track as things intensify a bit more both in the vocals and the instrumental fills.

After some lack-luster sound effects, "Bremen" kicks in with a Rush-like guitar riff, starting and stopping to build anticipation for something better, but this doesn't really materialize as the music can't carry the excitement, then the sleepy vocals start again. McCarthy is trying to get a bit of a gruff sound as he sings, but it just ends up sounding tired instead of energetic, and the music tries, but can't quite carry the excitement that they seem to want to convey. After that, the synth tries to liven up the party, but it is just too little, too late.

The style doesn't change too much in the other two tracks, the music just sounds tired. I understand the inclusion of an additional vocalist who actually sings behind the lead vocalist a lot, and that was probably to add a little bit of life to it all, but she is pushed to the back. Maybe they should let her sing out front more often to give things more life. This is especially important since the songs are driven a lot by the lyrics. Yes there are some progressive elements in there, but they almost sound worn out.

Some might find some interest in this music, but I can't get over the sleepy, or lackadaisical feel of the main vocalists delivery. The instrumentalists try to pull it off by throwing interesting riffs and solos, but the enthusiasm just isn't there. However, its not a complete wash here, there is some promise in the music from time to time, but you would think with the experience the founders of the band have had that they would have a much better effort here. The sound of this album just doesn't give me the desire to investigate the band any further. 3 stars.

UK band C SIDES, which are known as The C Sides Project these days, was formed back in 2007 by members with a past from many other bands, noted progressive rock band Magenta among them. They released their debut album "Devitrification" in 2011, and in 2017 their second studio album "We Are Now" was self-released by the band. Since then they have released a third album, "10 Days", under their revised moniker The C Sides Project.

This second album by UK band C Sides isn't among the more memorable of the albums I have listened to from 2017. Primarily melodic rock as I experience this album, and with some songs that for me comes across as somewhat odd in the manner in which they have been compiled. There are many fine moments and details to be found for those fond of the most accessible aspects of progressive rock, but as a whole I found the total album experience to be somewhat underwhelming. A possible key audience for me would be those who love and treasure late 80's and early 90's Wishbone Ash, and then especially those who do not mind the occasional bluesier and arguably more US sounding take on that specific sound.

This is the third album C-Sides, who apparently have gone through a slight name change. Originally formed by three ex-members of the mighty Magenta, it still features Martin Rosser (guitar, backing vocals) and Allan Mason-James (drums), while singer/bassist Allen McCarthy has been there since the debut. But only one year on from the last album and there have been other changes, with Sian Elson joining as co-lead singer with Allen, and new keyboard player in Kevin Dawson. With male and female vocals now at the forefront, the band has a different sound than previously, so of course the only way to announce their presence is with a full-blown concept album, complete with narration (provided by Molly Elson). This is based on the ten days Nellie Bly, an American reporter in the late 1800's, spent in the asylum for the insane on Blackwell Island. There are eleven songs in total, one for each of the days with the last being "On Reflection".

Overall the album is a delight, with a very modern sound which is light and unpretentious, yet also with plenty of nods back to bands like Genesis and Yes, while also bringing in Magenta, IQ, Big Big Train and Galahad. The music twists and moves, and one is never sure if the acoustic guitars are going to take central stage, whether it will be rocking along, or if it will be something more melodic. There is even slide guitar! A special mention must be made of the production, which is simply superb. The resonance coming from the acoustic is quite astonishing and should be held up as a way of doing things. Allen McCarthy and Sian Elson's vocals work incredibly well together, both melodic and fluid, yet the different ranges allows for additional depth and emotion to be portrayed. Punchy, dramatic, full of life and vigour, this is a superb album which delivers more each and every time I listen to it.