Fader – First Light

22 06 2017

FaderFader are Neil Arthur (Blancmange) and Benge (John Foxx & The Maths / Gazelle Twin). They have released their debut album, First Light, on Blanc Check Records.

First Light is a dark, simmering electronic album. The music sits somewhere between Cabaret Voltaire and early (pre-The Garden) John Foxx. And that’s a good place to be.

3D Carpets is driven by analogue synths and minimalist percussion, with a chorus that soaks into your brain. I don’t have a clue what Neil Arthur’s lyrics are about on a lot of the songs – but I love the images they conjure up,  they paint a picture that is open to personal interpretation. Its good to use your 21st century imagination.

Check The Power has a tense, paranoid vocal delivery from Arthur, and some fine, deep bass synth lines from Benge.

“You better go back”

I love the way the synths sound so dirty,  not like VST / emulations, the duo clearly use authentic machines.

There is a real depth to these meaty sounds. Way Out is a case in point – the sweeping synths shift from deep low to brighter high notes. At times I struggle to believe that this album was recorded in 2017, not 1979.

“Caught in the moment of doubt”

The title track continues the edgy feel, with Arthur shouting about “Catholic converters” and “Resume the search at break of day”. The track First Light reminds me a lot of John Foxx, have a listen below.

The marching percussion and thick synths on Wonderland conjure up memories of early OMD and very early Human League / Heaven 17. Over the first few album listening sessions, I grew to appreciate the stream of consciousness, quite dystopian lyrics. There is also a lot of humour on display here.

Liverpool Brick is a wonderful, beatless song. The sparse but melodic instrumentation works really well with the lo-fi recording of the vocals. Liverpool Brick also contains my favourite lyrics on the album. Like the track, the lyrics are very direct (in stark contrast to the rest of the album).

A Trip To The Coast delivers one of the most memorable songs on the album. A real mood of melancholy and lost, fading memories permeate throughout my favourite track, which will surely appeal to the Stranger Things generation. I hope A Trip To The Coast is used to promote First Light, as I think it will be a favourite with a lot of people. Put this song on your SoundCloud, Fader!

The album closes with another album highlight, Launderette. Apparently a “very British take on the solitary mood of Edward Hopper’s Nighthawks” (a print of which sits on my home studio wall, fact-fiends). Such a moving piece, with a metronomic delayed vocal delivered over a dark, simple synth-scape, and a throbbing low hum.

“In silence and silver, Ikea blue bag.
Washing away the stain, on our rags”

Nighthawks_by_Edward_Hopper

First Light is a fine debut release from Fader, and a must-buy for fans of late 70s, early 80s electronic music. I hope its the first of many releases from the electronic duo, as there are clearly lots of places left for Arthur and Benge to explore.

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Anathema – The Optimist

11 06 2017

The OptimistThe Optimist is the eleventh album from Liverpool’s Anathema, and a continuation of the story told in 2001’s A Fine Day to Exit album.

I hear shades of current bands such as Archive in The Optimist, and from early on its quite clear that this is a much more electronic offering than recent Anathema albums. The 5.1 mix (by Bruce Soord with Vincent Cavanagh) is enthralling – the electronic beats of Leaving it Behind scatter around the speakers – and the audio narrative that is so important to this album feels much clearer in the 5.1 version.

Endless Ways is a beautiful track – I love the Pink Floyd-esque guitar riff, and the emotive, reverb heavy vocal from Lee Douglas sits really well in the mix.

‘The dream I’m creating’

The albums title track is a standout song. Although the band have made the theme of the album clear, the lyrics on the album are open to interpretation – and suggest a story of someone running away and looking for direction, or maybe salvation. The track The Optimist builds with layers of guitar over strings and piano, and the end section is very moving.

My favourite track on the album is the instrumental San Francisco. The Run like Hell inspired guitar riff runs as a counter-play to the piano arpeggio – and when the hard sequencer riff hits, I’m simply in electronica heaven. Giorgio Moroder would be proud of you Anathema! This track has to be heard through headphones or a 5.1 setup to be really appreciated. There is joy in repetition.

The next stop on the journey is Springfield. The guitar and piano lines (with a sweet separation in the mix) evolve until the wall of guitars hit you so hard it hurts.

‘How did I get here
I don’t belong here’

Ghosts has a wonderful Massive Attack (Teardrops) beat and a lovely string arrangement.

Anathema press session © Scarlet Page

Can’t let go is the most uptempo song on the album, and sounds like a hybrid of Radiohead and Tears for Fears – that’s a good thing by the way. The lead and rhythm guitars are stunning on Can’t let go.

The simple and direct lyrics of Close your eyes match it’s atmospheric and disturbing music, as it mutates into an almost Twin Peaks like jazz arrangement. The album artwork maybe displays another David Lynch (Lost Highway) influence.

‘Close your eyes, just dream on’

Close your eyes flows directly into Wildfires, with its heavily treated vocals and percussion, as the track moves towards its powerful climax. The child’s music-box keyboard and guitar underpin the sad ‘too late’ refrain.

‘Who am I?’

The Optimist closes with a solo voice and guitar performance that comes into focus as the full band kicks in on Back to the start. The most psychedelic track on the album, with Beatles like guitar / strings and uplifting harmonies.

“They don’t understand, cos they don’t talk for me”

The Optimist is a powerful and moving album, that really resonates in these uncertain and troubling times. It is also one of Anathema’s finest albums to date.

Buy The Optimist on CD

Buy The Optimist Vinyl

Buy the Optimist Blu-ray (includes mp3 download)





Big Big Train – Grimspound

22 04 2017

Grimspound-album-cover-art-blogThree times Progressive Music Awards winners Big Big Train return with Grimspound, the follow up to last years Folklore album.

Album opener Brave Captain is the story of First World War English fighter pilot Albert Ball, from the viewpoint of Big Big Train vocalist David Longdon who stumbled across a memorial to Captain Ball as a child in the early 70s. This mixture of history and personal reminiscence runs deep in many of the bands songs, and makes them stand out from the crowd.

Grimspound‘s detailed album notes, as well as giving background and context to the lyrics, also explain the inspiration behind the songs instrumental passages.

Brave Captain is a powerful song, and heralds a subtle change in direction for this album. The songs on Grimspound seem to have added a hint of the 70s classic rock sound to the progressive mix. An addictive guitar line with synth / organ swirls push the song to its end section, reminding me a little of the sublime Private Investigations by Dire Straits. The powerful ending also feels like a cross between the twin guitar lines of classic Thin Lizzy mixed with the end of Bat Out Of Hell. You took the words right out of my mouth, I told you I can feel a classic rock influence!

On The Racing Line is an adventurous instrumental track, and a continuation of the story behind the song Brooklands on the Folklore album.

Experimental Gentlemen is an album highlight, book-ended by a beautiful intro and lengthy outro, with some mesmerising performances by the whole band. Watch a video of part two of the song below.

Meadowland returns to one of the characters from the two English Electric albums, and in the sleeve-notes, the band dedicate the track to the late John Wetton.

“Here with science and art
and beauty and music
and friendship and love,
you will find us”

This short nod to the band’s more pastoral past works really well at this stage in the album.

The albums title track reflects on what we leave behind, the mark we make on our world, in this increasingly digital age. The lovely shuffling drums pick up the pace as the song progresses through a lengthy instrumental section.

And then we have The Ivy Gate, my favourite track on the album. With a banjo intro that reminds me of the theme to the wonderful Deadwood TV series, the song features former Fairport Convention vocalist Judy Dyble alongside David Longdon.

A sad tale of war, loss and suicide, the evolving arrangement adds to the songs charm, and the track contains some wonderful bass work from Greg Spawton.

There is a moment of pure beauty when The Ivy Gate drops back to just the lead vocal as the main event in the song occurs, and sparse guitar, piano and vocals hang heavy in the air. Its one of the most moving performances I’ve heard in a long while.

Photo by Simon Hogg

The penultimate track is the albums longest piece. A Mead Hall in Winter delivers all the twists and turns, evolving time signatures and beautiful harmonies that characterise the best in classic and modern progressive rock.

“Meet me at the mead hall in winter,
set the world to right
with songs, science and stories
hold back the fading light”

The middle section of A Mead Hall in Winter finds the band heading off into a jazzy, almost Steely Dan territory at times. The interplay and the solos are razor-sharp, with none of the riffs or phrases outstaying their welcome by a single second. The tight rhythm guitar and multiple synth lines are a joy to listen to as the layers drop off to reveal a Yes / ELP inspired end section.

As the Crow Flies is a touching end to the album, with lyrics about letting go – of your children as they grow old, of your loved ones as they age. The song starts as it ends – “All here is good, still and quiet”. Songs like this remind you that your final destination is not important, its what you do on your journey that matters.

“Hope not to fall
or drift away”

I was a big fan of last years Folklore, but Grimspound turns it up a notch, and is a much more complete album, with strong performances from all the band members. The songs reveal new moments of wonder at different points, and the music deserves to be heard in one piece, with your full attention and played loud through good speakers or headphones.

I hope you enjoy Grimspound.

Buy Grimspound on CD from Amazon

Buy Folklore on from Amazon


Buy English Electric (1 & 2) CD on Amazon





Scarred For Life volume one: The 1970s By Stephen Brotherstone and Dave Lawrence

25 03 2017

OK, lets start with a confession. The 70s is my favourite decade. Its a decade that I lived through as a young ‘un (I was 10 in 1970) and saw me through to my first years as a young adult. It was the decade that provided some of the music that has seeped into my very soul, especially the mid 70s classic rock and the punk / post punk music from 77-79 that shook the establishment. So Scarred For Life volume one: The 1970s was always going to scream out READ ME, READ ME NOW. Oh and prepare to open your wallet – as you will probably find yourselves heading over to Amazon to buy lots of the DVDs and blurays of programmes you loved when you were young, or to eBay to pick up comics (old copies of Look-in) or other 70s memorabilia.

Scarred for Life Volume one: The 1970s

Scarred For Life volume one: The 1970s is a printed publication (740 black and white pages printed, with a free colour eBook version) that covers the decades weird and wonderful television (including favourites of mine such as The Tomorrow People, Sky, Survivors and A Ghost Story For Christmas), as well as a look at the changing face of UK TV culture. And that’s not all – the publication looks at board games – such as Top Trumps and Escape From Colditz, plus films and comics (including the mighty Action from 1976) as well as 70s fads and food (I had forgotten all about Horror Bags Fangs Crisps!). Oh and the array of 70s ice-lollies – no wonder I’ve spent so much money at the dentists over the years.

Scarred For Life volume one: The 1970s opens with an excellent scene-setting introduction by horror writer / historian Johnny Mains. Scarred by Television is the books first section. If you lived through the 70s, the memories are instantly sparked by the description of TV in that decade – no remote controls, tiny screens and few channels, compared to todays HD and hundreds of channels beamed into our homes through satellite / cable and on demand net based programming. On demand was not an option in the 1970s – in fact recording of programmes to watch later didn’t feature in most households until the 1980s. So TV watching was a much more communal event – everyone watched the programmes at the same time and discussed last nights viewing at school or work the next day. And if you missed the programme, or if it clashed with something else your family was watching on the homes ONE TV, that was it – no pausing, rewinding or catch-up TV. You simply missed it.

Programmes discussed in depth in the first few chapters include The Owl ServiceThe Ghosts of Motley Hall and one of my favourites, The Tomorrow People (which has a Bowie reference, fact fiends). Name that tune! The Blue And The Green Tomorrow People story has stuck with me all these years.

SkyOne of the most enjoyable parts of Scarred for Life is the coverage of the HTV series Sky. I remember watching and enjoying early episodes of this programme, but for some long forgotten reason, I never got to watch the whole of the seven part series. But I never forgot those terrifying black eyes…..

There is also a lengthy and informative section on Play For Today – including the haunting Blue Remembered Hills, which can be found on the Essential Dennis Potter boxset.

The sci-fi section of Scarred for Life includes the BBC post-plague drama Survivors. Much grittier than the (sadly cut-short after two series) more recent version starring Max Beesley, the original series lasted three seasons and went straight into my Amazon basket after reading about it in this book.

My favourite TV related section of Scarred for Life is the Gothic TV section – especially  the section on A Ghost Story For Christmas. I occasionally saw episodes during the 70s but bought the BFI DVD collection a couple of years ago due to the 2010 remake of the M. R. James story Whistle and I’ll Come to You, and dipping into this collection has become a Christmas tradition. The Scarred for Life piece goes into great detail, even mentioning the 1860s M. R. James origin of the Christmas Ghost stories that led to this wonderful BBC festive regular. I know its not Christmas as I write this review, but I think I’ll dip into the collection again this weekend. Charles Dickens is not just for Christmas, after all.

The How we used to live section discusses the way that some mainstream 70s TV dealt with race (the impact of ‘light entertainment’ shows such as The Black and White Minstrel Show and Love Thy Neighbour) and particularly the awful, lazy stereotyping in Mind Your Language. The section also discusses the “something for the Dads” casual sexism that was prevalent in Seaside Special / Top of the Pops and various sitcoms such as Doctor In The House and On The Buses. To their credit, the Scarred for Life writers don’t choose the easy “weren’t the 70s wacky” route in their discussions about these issues.

Scarred for Life takes an interesting approach to its lengthy Doctor Who section. Instead of focusing on the show and the stories, they take a fresh approach discussing what it was like being a fan of the show – writing about the Doctor Who Exhibitions and the eras Doctor Who annuals and magazines.

If, like me, you are of a certain age – the phrase “clunk click every trip” will mean you watched the multitude of public information films that ran through the decade, and they are discussed in loving detail in Scarred for Life. To this day, I’m still petrified of dumped fridges and ponds.

charleysays

The section covers with Charley Says, The Green Cross Code and the downright terrifying Joe & Petunia (the coastguard animation still haunts me). Coo-ee!

I spent many happy hours playing Escape From Colditz as a kid in the early 70s. The board game was inspired by the popular TV series, starring Robert Wagner and David McCallum, that ran for two series between 1972 and 1974. It made a change from the endless magic sets and compendium of games that I received each Christmas. So I really enjoyed the children’s games section in this publication, that also covers Top Trumps, a card based game (I recall having lots of military and vehicle based sets – mainly tanks, jets and motorbikes).

The savage cinema section is well researched. Covering films such as Soldier Blue, Straw Dogs, Dirty Harry and the Death Wish series, the writers put these films in the context of the post-Vietnam, permissive society fighting Mary Whitehouse era. Classic films such as Martin Scorcese’s Taxi Driver and Deliverance are also covered.

The writers also delve briefly into the “When Animals Attack” late 70s film genre, mentioning Grizzly, but sadly no mention of one of my  (corny) favourites from the era – Day of the Animals. I saw Day of the Animals as a double-bill (what a great concept, bring it back!) at the cinema in 1977 with a great film called The Car, with James Brolin being pursued through the desert by a seemingly driverless Lincoln Continental (The Car is mentioned further on in Scarred for Life).

Another well-written section of the book are chapters given over to covering some of the satanic / possession films of the 70s. Covering less obvious choices, such as Dennis Potters Brimstone and Treacle (not to be confused with the later film version starring Sting) as well as the sort of films you would expect, Rosemary’s Baby, The Omen and The Exorcist, the writing is often focused on the public’s perception of the films rather than plot synopses, which is a fresh take on these much-discussed classic horror films.

I also found the folk-horror section interesting – as its a sub-genre I know little about, so feel inclined to explore further.

The Pop Movie Turns Dark covers the trio of pop films That’ll Be The Day, Stardust and Slade in Flame. I’ve never seen the Slade film but love the two David Essex films. I didn’t realise that That’ll Be The Day is based on Harry Nilsson’s song 1941, so thanks for that pop-quiz nugget, Scarred for Life.

thatll-be-the-day

The sections on 70s books and comics is the section I was looking forward to the most, and it did not disappoint. I bought several pre-ban issues of Action – I wish I’d kept them, as it was a ground-breaking comic that is covered in depth in this publication. And I had forgotten all about the Pan Book of Horror Stories – that turned me onto the work of Edgar Allen Poe and Bram Stoker among others. I was also a big fan of the early James Herbert books – The Rats is discussed in Scarred for Life, but my favourite was The Fog. I’ve still got my original copy and it still scares me to death. Its a shame there is not more coverage of James Herbert – he may not be regarded as being a writer in the same class as Stephen King in horror writing circles, but his books were extremely popular in the 70s and 80s for the very good reason that they were terrifying.

Scarred by… food. Horror themed ice-lollies (Lyons Maid Red Devils & Haunted House), Smiths Horror Bags crisps (I can taste them now!) and Golden Wonder Kung Fueys (bacon and mushroom corn balls mnnnn) are all on the menu in Scarred for Life. Oh how I miss the 70s.

There is an interesting chapter on UFO imagery used in 70s music, including Boston, ELO, The Stranglers and a fair bit about David Bowie‘s apparent fascination with aliens. The sections ends with the top 10 UFO songs of the 70s. I won’t give it away – buy Scarred for Life and see for yourself.

Scarred for Life is a great read for anyone who lived through the decade, or for anyone in love with the music, TV and films that poured out of this amazing period. The TV series Life on Mars gave a great flavour of the 70s, so if you loved that show, Scarred for Life will paint an even fuller picture of the decade. I am really looking forward to the next volume, that will cover the 80s. I can’t wait to read about the nuclear paranoia of that decade, especially the mighty Threads.

You can buy Scarred for Life Volume one – the 70s now as a 740 page perfect-bound paperback (the printed version comes with details of how to obtain the colour e-book version as part of your purchase).





White Willow – Future Hopes

6 03 2017

Future HopesFuture Hopes is the follow up to the mighty Terminal Twilight from 2011 (one of this blogs earliest reviews)- so its been a long wait for new music from White Willow, the Norwegian progressive and (increasingly) electronic band.

Album number seven revolves around core members Jacob Holm-Lupo and Mattias Olsson and features for the first time vocalist Venke Knutson, who has had several pop hits in her native Norway.

Deep bass synth lines usher in album opener Future Hopes. It’s clear early on that the metal leanings of earlier White Willow albums have largely given way to a more progressive palette, topped off with layer upon layer of synths. Don’t worry, this is not a guitar free zone by any stretch of the imagination. The title track Future Hopes has some moving guitar solos towards the end of the track.

Silver And Gold is the most stripped back arrangement on the album – with just Venke, Jacob and Ketil Vestrum Einarsen performing on this track. The 80s music loving fan in me welcomes the Fairlight drums on this song. Silver And Gold is a beautiful piece of music, and Venke’s breathy vocals are perfectly suited to this track.

The prog is dialled back in on In Dim Days, a classic White Willow piece. There is plenty of space for exploration and lengthy instrumental passages on In Dim Days. The bass and drums work really well on the album’s heaviest track, and there is some nice hammond work from Lars Fredrik Frøislie (who has a huge part to play on the CD album’s closing track).

Recent White Willow music (I’m talking to you Floor 57 from Terminal Twlight) has often had me thinking “That would sound great in a J. G. Ballard film adaptation” and Where There Was Sea There Is Abyss is one of those moments on Future Hopes. One of two instrumentals on the album, this short atmospheric piece presses all the right buttons, reminding me a little of the textures and mood of side two of Bowie’s Low. It really sets your imagination flowing, which is always a good sign of potential longevity in a piece of music.

Photo by Dagfinn Hobæk

A Scarred View is the album’s masterpiece. Clocking in at a vinyl side filling 18 minutes and 16 seconds, it has all the time and space it needs to develop from its Vangelis Blade Runner like opening. A tale of arid desolation and drought damaged landscapes, the song contains some of the album’s best vocal and guitar performances. A Scarred View is one of those tracks with so much going on, and so many layers revealing new musical delights on each listen, that you never tire of hearing the song. It really does not feel like an 18 minutes long track.

Old school prog and 70s electronica fans will love the middle section of the song, with its heady mix of hammond organ topped with layers of moog, prophet 5 and especially arp solina (a mid to late 70s Bowie synth staple).  It takes me back to my youth, attending the laser shows at the London Planetarium, to a soundtrack of progressive and classic rock by the likes of Alan Parsons and Yes.

The whole album sounds rich and warm, especially A Scarred View. It is recorded so well, with plenty of space in the mix for the peaks and troughs, and sounds wonderful cranked up loud through a good amp and speakers. Buy Future Hopes on CD and vinyl if you can – not MP3 (I opted for CD but kind of regret not going for vinyl now, as I would imagine the album is made for that format).

Animal Magnetism is a CD bonus track, that was released nearly two years ago – you can read my review of the standalone release of the song, a cover of The Scorpions track. I loved it then and I still love it now!

Damnation Valley is the second instrumental, and another CD bonus track. Possibly a homage to Damnation Alley, the 1977 post-apocalyptic film? A bar-room piano and mellotron soaked piece, its a soothing end to this version of the album.

The album artwork from the legendary Roger Dean, and the quality album mastering by Bob Katz add to the whole album experience, and that’s what I believe albums should be – experiences. If you love the music of Genesis, Alan Parsons, Jean-Michel Jarre, Vangelis and all those progressive and classic rock artists from the golden era of the mid to late 70s, then this is an album you are likely to fall in love with.

And if you are already a fan of previous White Willow (and The Opium Cartel) releases – you don’t need me to tell you this is a must have album for your collection. Future Hopes is likely to be considered by many as a career high for the band.

Buy Future Hopes by White Willow on CD from Amazon

Buy Future Hopes by White Willow on vinyl from Amazon





Cobalt Chapel – Cobalt Chapel

2 02 2017

rsz_cobalt_chapel_editedCobalt Chapel are a psychedelic / folk duo featuring Cecilia Fage (Matt Berry & The Maypoles) and Jarrod Gosling (I Monster, Regal Worm), and they have just released their debut album on the KLove label.

The late 60s / early 70s inspired music is built round the vocals of Fage and the classic keyboards (mostly organ) and drum machines of Gosling.

The album is very dark and perfectly suited to the Autumn and Winter seasons. The songs conjure up moods and memories from an England long lost to technology, reality television, rampant commercialism and a loss of imagination and mystery.

Album opener We Come Willingly is a tale of murder, driven by the album’s signature organs and vintage drum machines fed through an army of effects.

Fruit Falls From The Apple Tree continues the baroque ‘n roll feel, with a lovely layered vocal during the middle section, as the keyboards and low bassline shuffles alongside the powerful drums. I love the mixture of progressive and folk music that runs through all the songs on this fine debut album. And an album is what it is – built to be heard in one setting, in sequence, so you appreciate the journey as the artist intended.

Ava Gardner is a short instrumental that precedes one of my favourite tracks on the album, Who Are The Strange.

Reminding me a little of early Portishead mixed with The Shortwave Set (whatever happened to them?), this was the first track that Fage and Gosling wrote together.

The lyrics tell the story of a near-death experience and the rattling effects and stabbing organ are as unsettling as the lyrical content.

The Lamb is a cover of the John Tavener choral piece that you may know from the film Children of Men, and is the most moving track on the album. The arrangement is simple but its a beautiful, stunning performance, with wonderful harmonies from Cecilia Fage.

Photography by Alex Lake

Black Eyes is inspired by the 1975 film The Stepford Wives. Distorted drums and keys, along with a slowly mutating arrangement, underpin this sad song of transformation and loss of will.

Singing Camberwell Beauty is the first song that I heard from the album, and it remains a favourite. A playful fairground waltz that gets darker as it progresses – and a song that will surely appeal to Saint Etienne fans due to the spoken interlude


Singing Camberwell Beauty is not “the last waltz” on the album,  as Maze is a short Camberwick Green on acid piece that leads into Two.  The album cover will give you a clue about the “two heartbeats” referenced in the song.

Horratia is “the story of an aging B-movie actress revisiting her life and career; a young face that many people once remembered and now an old face that is all but forgotten, except in the minds of obsessed horror/sci-fi convention-goers…” I love the twists and turns in the instrumentation on this track.

Positive Negative is inspired by The Avengers, and has a wonderful, slow building malevolent end section as layer upon layer of distorted organs pile on top of the vocals.

Photo by Chris Saunders

The album ends on Three Paths Charm and is the longest track in this collection. A mostly instrumental piece, with the occasional backward vocal lines and chants, acting almost as a summary of what has gone before.

Cobalt Chapel is a captivating first release, and there is a real continuity in the instruments used and the textures and moods they create. Its very easy to lose yourself in this album, and I am really looking forward to what the bewitching partnership of Cecilia Fage and Jarrod Gosling cook up in the (hopefully near) future.

Buy the CD on Amazon

Buy the Vinyl on Amazon





Tim Bowness – Lost In The Ghost Light

14 01 2017

Lost In The Ghost LightLost In The Ghost Light is the fourth solo album from Tim Bowness (no-man / Henry Fool).

Lost In The Ghost Light is a concept album revolving around the onstage and backstage reflections of a ‘classic’ rock musician (Jeff Harrison of the band Moonshot).

Joining Tim on the album are Stephen Bennett (Henry Fool), Colin Edwin (Porcupine Tree), Bruce Soord (The Pineapple Thief), Hux Nettermalm (Paatos), Andrew Booker (Sanguine Hum), and guest appearances from Kit Watkins (Happy The Man/Camel), Steve Bingham (no-man), David Rhodes (Peter Gabriel / Kate Bush), Ian Anderson (Jethro Tull) and Andrew Keeling (Robert Fripp/Hilliard Ensemble/Evelyn Glennie) arranging for string quartet and flute on three of the album’s songs.

Tim’s new album, as well as being a concept album, with a very clear theme, is also musically his most cohesive release.  His most recent solo albums, Abandoned Dancehall Dreams and Stupid Things That Mean The World have both appealed to those who love progressive music. But if you are a fan of classic, first generation as well as modern prog, Lost In The Ghost Light will more than likely tick all the boxes for you. Musically, this album draws from the spirit of experimentation of the late 60s and early 70s, whilst keeping the Bowness musical identity intact.

I think its safe to say that Lost In The Ghost Light is an album that will be getting a ton of love from the (recently saved) Prog magazine, and will be appearing in a lot of reviewers end of year favourites lists.

Worlds Of Yesterday sets the scene with a backing of warm arpeggio acoustic guitar, some fascinating fretless bass and mid-70s keyboards / organs. The end section is wonderful, with flute (from Kit Watkins) and Bruce Soord‘s soaring guitar building up to a final 30 seconds that will surely melt your prog-filled heart.

Moonshot Manchild – well, Phil Collins would kill to have that feeling again. The piano and strings in the verse are solid-gold solo Collins, whilst the chorus and instrumental sections are unadulterated pre-80s Genesis.

“The days are long when you’re not working”

One of the most rewarding aspects of Lost In The Ghost Light is the multitude of instrumental passages, and Moonshot Manchild is one of the main beneficiaries of this freedom to explore the boundaries of the songs. I expect this song to be a possible Prog anthem of the year.

“You’re wearing the styles of your age.
 A slave to the whims of a phase, 
You dreamt of eternity’s gaze,
Now you’re running out of time.”

David Rhodes (Peter Gabriel / Kate Bush) and Mr Pineapple Thief handle guitar duties on Kill The Pain That’s Killing You, the albums least proggy track. It’s more akin to the sound of Tim’s previous albums, with a hint of no-man thrown in for good measure, so its obviously an album highlight for me!

Mid-way through the album, we have what I consider to be the albums jewel in the crown. Nowhere Good To Go is a delicious Bowness ballad, one that’s so good that it could easily be a song from no-man‘s Returning Jesus. It’s quite simply one of Bowness’s best songs.

An ever evolving arrangement keeps the song fresh, even after repeated plays. The moving lyric and vocals stay constant throughout the song, as the arrangement gets increasingly prog-flavoured towards the end. Nowhere Good To Go is a finely layered song, but underpinning the arrangement and the emotional performances is a beautiful and painfully sad story of the loneliness of the touring musician who is long out of touch and now forever out of time.

“The theatre’s deserted,
And there’s nowhere good to go.”

You’ll Be The Silence is one of the albums longest tracks, which gives the song time to build and explore.

“You caught the music of the moment by accident.
You caught the moments in the music by chance.”

A song of regret as the albums protagonist watches his band become largely irrelevant as the industry moves on and leaves him behind. Where would a band as out-of-time as Jeff Harrison‘s Moonshot fit into these days of a down-sized music industry, with no more excess and huge physical album sales? An industry moving toward streaming as the norm? I suppose they would say their new album is a return to their halcyon days and hope for reviews of the “best since Scary Monsters” variety.

“You went on stage together,
But you failed to find the art.”

Lost In The Ghost Light is filled with remarkable individual performances – Stephen Bennett hits a career best on the album in my opinion. Colin Edwin also gives some fine performances, the highlight being a moving bass harmonics solo on You’ll Be The Silence.

Tim Bowness

The Bowness production / arrangment and the usual high-quality mix and mastering by Steven Wilson need to be recognised in  reviews of the album. The way the Univox SR-55 drum machine slips seamlessly in and out of the percussion arrangement on You’ll Be The Silence is a joy to hear. A tip of the hat must also go to Bruce Soord, who delivers a passionate solo in the outro that David Gilmour would be proud to call his own.

The album’s title track is pure no-man – glitchy electronics and a treated vocal that recalls the darkness of no-man’s Bleed or the Wild Opera period. The lyrics see our man Jeff questioning the relevancy of his music and whether there will be more, or whether he will remain on the soul-destroying roundabout of the nostalgia circuit.

You Wanted To Be Seen continues the questioning and self doubt, with a backing that recalls Fragile era Yes with a pinch of Pink Floyd added for good measure.

I love Andrew Booker‘s performance on this track, which works so well with Bruce Soord‘s multi-layered guitar. It reminds me a little of late period Porcupine Tree in it’s intensity.

The album ends with Distant Summers, with Colin Edwin giving it some Danny Thompson on the double bass, and a stunning flute solo from Ian Anderson. Tim delivers one of his most emotional vocal performances on Distant Summers, and I hear echoes of early Kate Bush in the piano / bass interplay and string arrangement.

“Third on the left,
A monster and a mess,
Back in the days that you still love the best.”

A couple of years  have passed since the last Bowness album, but the wait was definitely worth it. Lost In The Ghost Light is a rewarding album that reveals new details on each play. I cannot wait to hear what people think of this album, as for me, its the best Bowness album to date.

5.1 mixes on the CD/DVD version

The 5.1 mixes by Bruce Soord of Lost in the Ghost Light and Stupid Things That Mean The World make up the DVD section of the double-disc version.

Lots of new details come to the fore in the 5.1 mixes. The vocal harmonies in Worlds of Yesterday and the piano on Moonshot Manchild are much more prominent in the 5.1 mix.

My favourite track on the album, Nowhere Good to Go, sounds amazing in this mix, with a lovely separation between the synth and the lush acoustic strings. Old school Genesis fans with love the synth lines that really stand out in this version.

The arrangement on You’ll Be The Silence is stunning heard through a 5.1 set-up. The album’s short title track sounds very different, with hidden, competing electronica making for a disturbing experience.

Another album highlight, You Wanted To Be Seen, has to be heard at volume to be appreciated fully.  The violin parts sit beautifully in Distant Summers, as does Ian Anderson’s solo.

I forgot to download (doh!) the 5.1 mix of Stupid Things That Mean The World that came as a pre-order bonus when the album was originally released, so this was my first listen to the album in 5.1. Just like Lost In The Ghost Light, new details emerge in the 5.1 mix of this album. Having the two 5.1 mixes adds real value to this package.

The first track that really stands out is Where You’ve Always Been – there is a lovely clarity in the individual performances, and it was a joy to get re-acquainted with one of the most underrated Bowness songs.

Know That You Were Loved works so well in 5.1 – no fancy tricks, no panning effects, just the power of an emotionally direct song in extremely high audio quality.

Press Reset is the real highlight of the 5.1 mixes for me. The bass notes cut through the mix, and oh man, when the heavy percussion and bass kicks in, it sends shivers every time.

“This is the day you’ll disappear”

The neighbours will be having words with me, as I have to crank up the volume on this track.

Everything You’re Not also reveals more detail of the unusual harmonies that go so well with the nostalgic strings and brass.

The short but certainly not sweet Soft William also takes on a new lease of life in this mix. Album closer At The End Of The Holiday reveals its powerful melancholy in 5.1. An emotional string intro leads to a moving arrangement, with brutal lyrics, and a proggy organ solo that almost act as a precursor to where Bowness would venture next with his new album, Lost In The Ghost Light.

Artwork

My initial review was from a digital copy of the album. Now I’ve got my physical copies – vinyl and CD/DVD – a special mention of the albums wonderful artwork is warranted. Tim has worked with Jarrod Gosling to flesh out the story of Jeff Harrison and his band Moonshot, whose story runs through Lost In The Ghost Light.

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The album cover works as a perfect scene-setting statement, and really should be experienced in its full-size vinyl format. The gatefold sleeve (part of which is shown above) is stunning – with Moonshot vinyl, singles, vhs, CD and cassette artwork. The £1.99 sticker on the Moonshot Live at the Rainbow cassette raises a smile every time I see it.

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Lost In The Ghost Light – vinyl


Lost In The Ghost Light – CD/DVD

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