WHITEWATER

Whitewater was formed in 2013 by Stuart Stephens (guitars, keyboards, bass, vocals) and Paul Powell (drums, percussion, programming) and here they have been joined by Mike Kershaw (vocals on 3 tracks), Gareth Cole (guitar on 4) and Clare Stephens (backing vocals on 1). This feels like an incredibly fractured album, as there are times when it is all comes together such as on the title cut which is an absolute delight, yet there are others where the drums are way too high in the mix and the vocals just don't work at all. "Freefall" is monotonous, and I would much have rather heard this as an ambient/New Age instrumental without the vocals. The guitar solo on this song is just right, a nice amount of distortion and cut through without ever being a shred, so one wonders what might have happed if this number had been treated quite differently.

I found myself thinking back to their last album, 'Universal Medium', which I enjoyed more as a whole, yet there are songs such as "Again" which are masterful. The vocals combined with piano and swirling keyboards are simply delightful, and if the whole album was like this then I know I would be raving over it far more than I am. The album is heavy on the atmospheric and laid back vibes, and there are undoubtedly some wonderful moments to be discovered, but overall this is one which needs to be played prior to purchase.

WHITEWATER is an English progressive rock band formed in 2013 by Stuart Stephens who is passionate about progressive rock. He composed with his sidekick Paul 10 tracks of pure icy and sidereal beauty in the sadcore movement with progressive strands injected by captivating piano notes; a great contemporary art of aesthetic music combining PINK FLOYD from the period "The Wall" for the phrasing with the more austere atmospheres of ORBITAL, of PINEAPPLE THIEF; for those who also love the soft musical chilliness of the great Leonard COHEN or the melancholic and atmospheric climates of ANATHEMA, read on: "Fallout" and an SF space intro with the ship passing behind your speakers, slow and melancholy with the most beautiful effect, it reminded me a little of the atmosphere of COMA ROSSI, the ultra low wave of the "Big Blue" of SERRA when the hero dives, enough to make your mouth water and injecting a delicately cold climate, relaxing intro and filled with hope or spleen, it depends. "Things That Can't Be Said" comes with Mike's signature rugged voice bringing a depressive, cold wave rock-like atmosphere; the dry guitar amplifies the ambience to a fruity airy guitar solo, pulling the notes high, high. "Dark Planet" with its piano notes pours into a cold melancholy and solemn melody and you have to wait halfway to have a much more cheerful, lively, joyful sound, soaring limit, a moment of introspective and ambient aerial music; it's simple, but it's beautiful and delicate. "Freefall" starts at a fairly slow tempo, minimal drums, low set back but which gives the rhythm well, monotonous voice a little on that of Roger Waters, here too it is the fat, enjoyable and fruity solo of Stuart which boosts the monophasic, hypnotic and nostalgic title. "Again" with cliché synth and piano goes straight into the grandiloquent; there is emotion in the slow air, echoing in the two-tone voice, a sign towards the first times where Lee returned the favor to Vincent from ANATHEMA, a Lana Del Rey tune in the masculine way sadcore; here it's raw emotion that is distilled gently, soporifically. "Stand In Line" begins the second side of the album, the air is more majestic, playful, delicate bringing the notes to the point of shaping a pure climate; fresher title therefore starting with an atmosphere à la ANATHEMA with an immense guitar solo, the ambient piano finishing to freeze you with bliss. "The 83" for the slightly jazzy instrumental interlude with the bass forward, a cold, austere, introspective, latent track. "Time To Move Along" returns with a slow track again, I can feel the imprint of Leonard Cohen, Stuart and Mike have beautiful voices, until the rise of the voice giving more intensity and solemnity; the melancholy piano is admirably assisted by Paul's keyboard layers to pour into the musical drama. "As You Were" is the longest and most progressive song, less sad piano letting the voice bring the air; the integration of this wooden piano that we had at three years old and which only distills three detuned notes, which makes you prick up your ears in front of so little sound until this enjoyable, orgasmic Gareth solo I would say and which magnifies the basic air of the beginning; attention the blank at the end of the title is still part of the song. "Everything (Up Till Now) for already the last title more oriented on the psychedelic titles of PINK FLOYD with again a solo to die for. It will take several listenings to immerse or soar into the world woven by Stuart and Paul and choose your listening moment, preferably by the fire while relaxing from a hard day's work. Intimate, refined atmospheric progressive music where each note is likely to make you vibrate; a true musical ode to travel and amplify its latent emotions, short but vibrant mid-tempo groove pieces where the succession of tracks will overwhelm you.An intimate album for long winter evenings to loop while reflecting on the madness of this planet dark that self-destructs.

Whitewater was formed in 2013 by Stuart Stephens and Paul Powell. Stuart is singer, guitarist and keyboards player, while Paul handles a complex range of percussion as well as drum programming. Stuart has been an avid progressive rock fan for as long as he can remember, and states that he formed Whitewater to combine the sounds of classic prog bands like Pink Floyd and Supertramp with a more contemporary ambient aesthetic more akin to Orbital or The Future Sound of London.

They aim to combine traditional prog influences and the ambient sensibilities of more modern acts, a spirit of experimentation with a distinctive signature musical landscape. This is their third album, where they collaborate with fellow BEM alumnus Mike Kershaw who co-wrote and sang on two songs.

Overall the album is more relaxed and quiet than what I would normally listen to, but there is a definite feeling of direction, and that there is far more substance than just some ambient meanderings. There were times when I found myself thinking more of Tangerine Dream than a modern outfit, but with keyboard sounds that far more up to date, often with a tripping sensibility that can be best described as being a very laid-back Ozric Tentacles. The production is very strong indeed, and there is a real sense of space and silence being used as an additional instrument. There is so many gaps between the layers of the arrangements that one could almost walk straight through the cords binding it all together without touching a thread.

It feels quite simplistic and repetitive at times, but that is just part of the overall plan to drag the listener in, with stark electronic keyboards against a very warm bass. In many ways, this is the perfect end to a long day with a glass of your favourite spirit close to hand.

UK project WHITEWATER was formed by Stuart Stephens and Paul Powell in 2013, following the conclusion of a cover band project they both were involved in. Stephens is the main composer of the band, and it was due to him needing a helping musical hand with his material that Whitewater was born. "The Sound of a Galaxy Smashing" is their debut album, and was self-released in 2013.

It would appear that the musical landscape explored by this project can be more or less described as a simplistic take on the more atmospheric side of Pink Floyd, possibly with some psychedelic rock details adding additional flavor to the proceedings. As far as progressive rock is concerned this is a production that relies totally on moods and atmospheres, those with an eager interest in experiencing musicians flaunting their technical abilities will have to look elsewhere. Much the same can be said about those that favor structurally challenging compositions, as the songs on this production are fairly predictable in nature as far as this aspect is concerned, and not all that advanced in the structural department as such really.

Whitewater tends to operate with a set number of different arrangements on this production. The greater majority revolves around frail, slow paced resonating guitar motifs, with or without drums supporting, and with a second plucked guitar motif or a guitar solo added on top when vocals aren't present. The main alternative are plucked guitars combined with hovering, smooth keyboards, and to a lesser degree we're also treated to harder edged guitar riff driven constructions and atmospheric laden, cinematic sequences, sometimes with more of a cosmic quality to them.

The main challenge when opting to explore material of this kind is to be able to create sounds interesting enough and compelling enough for the listener to continue listening. To be able to construct a stunning atmosphere, a truly strong performance that intrigue just as much on a technical level as the atmospheric one, or to be able to produce the music well enough for the audiophiles to become fascinated by the sheer audio quality. Unfortunately I don't think Whitewater manage to succeed on any of these levels.

I find the themes and motifs fairly pedestrian in nature. Pleasant enough, and with a certain beauty to them, but lacking in nerve, contrast and otherwise any details that makes them something truly special. The performance is adequate enough, but again without any bells and whistles that creates within me that urge or desire to stop and listen again. Adequate is probably a key word here. Still a pleasant enough production as far as the compositions and the performance part of it goes.

Mix and production is another chapter entirely however, and I'm afraid that this is in a negative understanding too. Lo-fi is a word that comes to mind, demo quality another. The drums are loud and often the sound of them breaks. The vocals sound like they were recorded in a big empty room, adding a cold echo effect that won't be to everybody's taste. And in the instances where guitar riffs are applied, they drown out the vocals almost entirely. I'm afraid that my perception of the mix and production of this album is one that concludes with the word inadequate, and for me and my experience as a listener and reviewer this aspect is seriously detrimental for the total and overall experience of this album.

From how I know musicians, the guys behind this project have invested a lot of heart and soul into this production. So I apologize for being relatively blunt and bluntly honest in my assessment, as I know that most creators of music will hurt emotionally to a lesser or greater degree when someone describes their art in such a manner.

As far as a recommended audience goes, a prerequisite to be able to enjoy this production is that you're accustomed to and generally tends to enjoy productions of a lo-fi mix and production quality. Those who found demo tapes to be more honest and interesting than label releases back in the 1980's an example af a perfect crowd for this album. If you have recognize yourself in such a description, and also tend to enjoy atmospheric laden, relatively uncomplicated music that appears to orient itself towards the most atmospheric material from bands Pink Floyd in terms of general style, then this album is one that merits a check. Especially if you also favor music with a subtle psychedelic coating.

Whitewater's 'The Sound of a Galaxy Smashing' is the first musical statement from a duo of astute musicians from England, multi-instrumentalist Stuart Stephens and beefy drummer Paul Powell. The former is a jack of all trades, fluent on guitar, keyboards, bass and vocals while the latter has a drum style closer to bashers such as Bonham, Roger Taylor, as well as presumed cousins Cozy Powell and Alan Powell (Hawkwind). What's in a name, eh? Must be the genes.

The single greatest gift that prog has brought to the music world is eliminating the 'rat race' and blind obedience to record companies (who have somewhat become redundant), as amateur musicians who have day jobs (Lawyers, entrepreneurs, architects, doctors, mailmen, waiters etc...) now can record and distribute their music thanks to modern technology and the Internet. In many cases, the talent is off the charts and is created purely for humanistic and not capitalistic reasons. All it takes is one fan, somewhere out there, half-way around the world who appreciates the effort, for it to be all worthwhile. Paraphrasing the Bible, 'He who delights one person, delights all of humanity'.

This album is quite a revelation, certainly for a debut album, as it's definitely more experimental and atmospheric than its successor, the punchier 'Obscured by the Sun'. There will be some who will, too conveniently, toss this into Pink Floyd-influenced territory, which is an easy and quite unstudied way out. Yes, it has loads of melancholia and special sonic effects but so did the Beatles! However, there are major differences in stylistics, Stuart preferring a clanging guitar sound that is closer to non-household names Franco Falsini (of Sensation's Fix) or Like Wendy's Bert Heinen rather than Gilmour, especially the rhythmic and acoustic work on this somewhat 'purer' recording. His vocals are not Floydian clones but his own personal style which is in a higher register and very occasional, as the focus is on the dense atmospherics and the elastic arrangements that are deliberately kept natural. The production is clear and crisp, albeit often unpolished, which is an added attraction (except for the rare heavy parts which I mention further on).

Three monsters epics are definitely the highlights here for any intrepid prog fans. Opener 'I'll See you Someday' (you can dedicate this to me, Stuart! Hahaha) is an absolute mood setter, putting down the letters of introduction to their burgeoning career in Progland. Carpeted with assorted effects such as telephone ringing, the quintessential baby cries, screeches, pings, beeps and booms, the arrangement creates a highly cinematographic concoction of contrasting moods and images. The drums pound in like depth charges, splashing ever more psychedelia and flower-power confetti, recalling '2000 Light Years from Home' (the only Stones song I ever liked). Great vocals, amazing atmosphere and delirious simplicity. Then, the unexpected bruising kicks in with grungy, oily, nasty and heavily echoed voice. Cling, clang and pastoral ruminations on the guitar. A Walter Cronkite- like voice introduces a nuclear risk proviso that suggests hiding behind a desk or wall (Err'). British humor, Stuart?

The 17 minute+ behemoth 'Wrong Way Round the Left Bend' is a brisk affair, the initial ambient storm shimmer morphs into a monolithic pace that is fuzzed out by trebly arpeggios, deep sonic valleys and searing upward spirals as witnessed by the Falsini- esque guitar solo, a pure delight to any guitar fan. The finale gets hot and heavy, as Stuart shows of his affinity and respect for Iommi, Young and Moore. This is perhaps my favorite Whitewater track of all, a psychedelic space ride that does not fail to impress.

The romantic-inclined 'Only to You' spans 10 minutes of forlorn sadness, a somber piano motif colors the crying clouds, Stuart voicing his inner pain with soporific conviction. Despondent, hopeful, hypnotic at first, precipitously exploding into a gut-wrenching hard blues stomper (Yes, Paul!) but unfairly muddied by barely audible vocals (the only small caveat I can opine for both albums) when the music gets heavier. However, the echoing piano is utterly simple and gorgeous, something out of Roger Eno's catalog. The voice gentle flutters over the careening piano chords in sheer reverence to the meaning of the song.

The short tracks are incredible fun as well, the glittering 'Stardust' oozes with unrelenting angst, snarling guitars and colossal drums, the whole attractively punky, messy and noisy. 'Rainbow Bridge' initiates another stylistic nod to Falsini both in the chiming rhythmic riffing as the blissed-out, effect-pedaled scorching lead electric solo. Echo, fuzz, obsessiveness and delay, all the tones are there to enjoy. Adroitly, Paul boom-boom-tchaks nicely and muscles the mood along. The fragile 'Aura Dreamscape' professes nothing more than to further the cottony gleam, piano and guitar licking each other with glee, highlighting their experimental tendencies with finality. More voice effects samples are added to the mix. A gentle fade away.

Comparisons to early Sensation's Fix albums (Fragments of Light and Portable Madness) are absolutely vivid, though Whitewater has its own very original style. The gorgeous cover art only coronates this fine effort even more, a phenomenal work on its own merits.

4 exploding universes

Cascading forth onto the merry shores of progland, the aptly-named duo Whitewater embark on an interesting voyage of sounds and sparkle that should raise of few eyebrows. Stuart Stephens is the main musical conduit with drummer Paul Powell providing some muscular beat support. Their first album 'The Sound of a Galaxy Smashing' was a splashy dive into progressive rock that Stuart humorously describes as a marmite sandwich, either you love it or hate it. This second offering is assuredly much closer to the musical control they envisioned for their craft, a densely electric album that has a peculiar metallic edge. With a cloudy title like "Obscured by the Sun", they certainly stamp some Pink Floyd-isms into the mix ("In the Beginning") but truth is there is a whole lot more going on, as evidenced by the throbbing compressor "Rush", a pure space-rock adventure that hearkens back to the hard-dreamy material proposed by bands such as Sensation's Fix, with a less over- produced sound which is quite appealing. Big drum beat anchored by a trembling bass rumble, shattered by shimmering guitar screeches that saturate and satiate with manic insanity. A hushed voice maintains the push into deeper realms of cosmic bliss. A delectable piece indeed.

The melancholia-laden "Fallen Angel" proposes a metronome beat and intense psychedelia, within relatively simple parameters, a solid platform for a fuzzed guitar outbreak, all shrouded in this special metallic mist. Moody and serene, there is a strong sense of foreboding doom and despair. The leaden "Ordinary Life" follows the same approach, a mammoth beat with jangly guitars and a fierce lead solo, there are all kinds of weighty messaging going on, the axe tone more reminiscent of Tony Iommi or Gary Moore, raging, oily and utterly provocative.

The majestic 9 and a half minute title track is clearly Floydian in influence, a modest lilt that haunts and pacifies, a delicate and insistent piano motif that hides a deep sense of longing, glittering electronics and choir-like effects only heightening the inner malevolence . A clamoring beat kicks in to shove this into the stratosphere, fuzzed anger wrapped around intense sparkle , almost like something Canadian band The Tea Party would come up with (but without the Jim Morrison vocals) . The return to the forsaken theme is a sublime move, seeking to reenlist ones approval and enjoyment. This is a stunning track that surely characterizes this UK band very well. By Jove, I think they got it, screamed out Henry Higgins!

While daring a title like "Breathe" may be a little snarky, there is little similitude to any darker side of the moon, just a little experimental ditty that resonates with profound echo, both from the cottony voice and the fizzling axe. Foreboding, almost toxic and then spasmic, the tortured guitar screams and howls out of er...breath!

This duo excels in the longer pieces, giving themselves more expansive room to ruminate musically and the 8 minute long "Black Light Effect" is no exception, with Bonham-like pummeling from Mister Powell, distortion-laden keyboards, raw bass and slashing guitar rants. The unintentional winks at Sensation's Fix are actually quite rewarding, a spacey style that combines many contrasting elements into one.

A couple of circa 5 minute tunes make an appearance, the sad "Disengaged" coming first up to the plate, another uncomplicated affair that seeks out familiar melancholic territory and a killer guitar solo. The groggy "Without You" is the unjoyful ballad, guitar paining, yearning and panting, the bass obviously disappointed and Powell does slam hard, one of the finer short tracks.

"Fade Away" is the megalith epic, a whopping, nearly 17 minute venture into cosmic journeying, this time putting the synthesizers front and center in a way more symphonic/space rock framework. The pace is unhurried in development which gives Stuart the opportunity to show off some considerable compositional skills. Eventually, the gloomy guitar barrage kicks in with the Bonzo-like drum cannonade, the bad-ass bass raging with authority, stamping their now quite obvious style onto the arrangement. Imagine liberal doses of Led Zeppelin, Black Sabbath and Hawkwind as well as eccentric synthesized walls-of-sound effects and you get the picture! A floating mid-section only serves to confirm the talent displayed here, a new band still searching for a clear and permanent identity. Stuart then unleashes an extended fret board foray that screeches and cajoles with the best of them. Within the tempestuous sonic confusion, a new section throttles through the clouds, a deadly rampage full of metallic anger and rage, as both Stephens and Powell kick into turbo-charge. Smartly, the piece ends in a kaleidoscope of sweet sounds and ecstasy. A seductive suite that will please any music fan.

The book ends with "The End" and it fizzles out, synthesized droplets whirring inexorably into the cosmos.

My only slight complaint would be a clearer and punchier vocal recording, as the music's general heaviness is at times overbearing for the microphone stand. I tried to imagine a more polished affair and I came to the conclusion that their 'less is more' style is actually way more interesting. The longer pieces are easily worthy of any progfan's attention, especially if one enjoys that "homey" touch. This is what the future looks like, boys and girls!

4 Solar Oblivions