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.

Pollard/Daniel/Booth – Eight

Early 2014 the UK electronic music trio Brendan Pollard (sequencers, Mellotron and FX), Michael Daniel (synthesizers, FX, Mellotron, Gliss guitar and guitar) and Phil Booth (synthesizers, FX and Organismic Synthesis) released their eponymous debut CD, four years later we can enjoy their eight effort simply titled Eight, released in a limited edtion digipack version.

Their music on Eight has obvious hints from the Berlin School, especially Seventies Tangerine Dream and Klaus Schulze, it sounds as a warm and tastefully arranged tribute to these legendary EM masters. All tracks start with beeps and bleeps, then the compelling pulsating sequencers, blended with the sound of the Solina – and Elka string-ensemble, synthesizer flights, Mellotron violins and flutes, and ending with soaring strings and often tender Mellotron flutes. But every composition has its own flavor, its own tasteful arrangements: sensitive Floydian guitar runs and fine use of the volume pedal in Return, awesome sequencing in Cell and Midges (also distorted electric guitar) and a captivating blend of Mellotron sounds and sequencers in the final track Clockline. Highly recommended to fans of early Tangerine Dream!

****

Line-up/musicians:

Brendan Pollard: sequencers, Mellotron and FX.

Michael Daniel: synthesizers, FX, Mellotron, Gliss guitar and guitar.

Phil Booth: synthesizers, FX, Organismic Synthesis.

Fabio Gremo – Don’t Be Scared Of Trying

Website info. “I was born in Genoa (Italy) on June 28th 1976, I began playing classical guitar when I was in middle school, then I got a degree at the Conservatoire in Alessandria under the guidance of M° Angelo Gilardino. Furthermore I attended the lessons of M° Luigi Biscaldi at the Music Academy in Biella. I also came into contact with rock music, and entered the prog band Il Tempio delle Clessidre, with which I have the chance to play in Italy and abroad. In 2013 I released my first solo album, titled La Mia Voce (my voice), which contains ten pieces I composed for solo guitar. I carry out a good concert activity as a soloist and in various ensembles, including the neo-folk band Ianva. In 2016 I started taking singing lessons with Gino Pecoraro. My second solo album, Don't Be Scared of Trying, has been released on Christmas 2018.

The title suggests non-obvious musical choices. Well, on his second solo effort Fabio Gremo sounds not like Il Tempio Delle Clessidre, but like a romantic troubadour, reminding me of fellow Italian Angelo Branduardi, blended with pastoral prog (Anthony Phillips, folky side of early Genesis) and ‘unplugged’ Steve Hackett. And Fabio sings not in his native language Italian, but in English, with some slightly theatrical overtones. Although Fabio is an inspired singer and does a decent job in English, I would have loved to hear him singing in his native language.

The 10 songs mainly deliver dreamy and mellow atmospheres with an omnipresent, outstanding classical guitar. In some tracks Fabio embellish the sound with piano, and keyboards, like soaring organ in Over The Rainbow, synthesizer flights in Dance Of Hope and Hypersailor (also a tight beat with rock guitar) and Mellotron violins in Lullabite. The final composition is the titletrack, a wonderful piece with twanging classical guitar, dreamy vocals and a melancholical cello.

Don’t expect a sound like Fabio his band Il Tempio Delle Clessidre, this second album is for the romantic progheads who are up to a very pleasant and mellow blend of classical, folk and prog