Tim Bowness – Songs From The Ghost Light

14 08 2017

Songs-from-the-Ghost-Light

Songs From The Ghost Light is a companion release to Tim Bowness’s Inside Out label albums, Abandoned Dancehall Dreams (2014), Stupid Things That Mean The World (2015) and this years wonderful Lost In The Ghost Light.

The 34 minute mini-album is available in limited quantities on CD & vinyl from Burning Shed, and as a download from Tim’s Bandcamp page.

Stupid Things That Mean The World (chamber version) is a stark re-imagining of the 2015 track. Stripped of the albums guitar and drums, piano and strings underpin the vocals, which have a dollop of extra reverb added, making this version a very different beast. A disturbing alternative synth line adds tension to the middle section of the song.

The live version of The Warm-Up Man Forever (the studio version appears on Abandoned Dancehall Dreams) features a stunning drum performance from Andrew Booker and a wonderful Experiment IV-like guitar line from Michael Bearpark. As an advert for the Tim Bowness live shows, the non-studio cuts on Songs From The Ghost Light do their job.

No Longer The One is a reworked, much less proggy version of the Henry Fool rarity Pills in the Afternoon. A more expansive guitar line and a richer arrangement and production take one of Tim’s finest hidden pieces to new heights. Its my favourite track on this mini-album.

Some T-bo trivia – No Longer The One was lyrically altered to work with the Moonshot / Jeff Harrison story. Expect an angry tweet from the ageing old Putin worhsipping Moonshotter soon!

Once A Record is a mutated piece of mellotron madness built from The Great Electric Teenage Dream. Whispers, off-kilter and digitally twisted vocals and dark electronics bubble under the surface of a track that would not have sounded out-of-place on David Bowie’s 1. Outside.

Next up is a live version of The Great Electric Teenage Dream. The version on Songs From The Ghost Light is faithful to the times I have heard the song live at recent Bowness shows. Its a powerful performance, with brutal guitar lines.

The polar opposite is The Sweetest Bitter Pill (chamber version). I prefer this take to the version previously released in 2014. Strings and mid-70s sounding lead synth lines push the songs melody to the fore.

The final live song is Abandoned Dancehall Dreams Dancing For You. One of Tim’s saddest songs of nostalgia and regret, Dancing For You is presented here in a moving live performance. A fine synth solo from Stephen Bennett drives the song to its conclusion.

Giancarlo Erra (Nosound/Memories Of Machines) contributes piano to the album’s closing track Lost In The Ghost Light (giallo), as well as mixing and mastering the album. Kit Watkins adds flute and ‘Heartbeat’ percussion to the discordant re-birth of what was already the most menacing piece on this years wonderful Lost In The Ghost Light album.

“Is there more?”

No Longer The One, The Sweetest Bitter Pill (chamber version) and Lost In The Ghost Light (giallo) actually surpass their original incarnations as far as I am concerned. Songs From The Ghost Light works well as a companion to Tim’s successful Inside Out era albums, making you return to the originals whilst working well as an album in its own right.

Stupid Things That Mean The World (chamber version)
The Warm-Up Man Forever (live)
No Longer The One
Once A Record
The Great Electric Teenage Dream (live)
The Sweetest Bitter Pill (chamber version)
Dancing For You (live)
Lost In The Ghost Light (giallo)

Buy the CD and vinyl from Burning Shed

Buy the Download from Tim’s Bandcamp page





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.

litgl

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.

Buy the album

Buy from Burning Shed

Buy the CD/DVD & vinyl from Burning Shed 

Buy from Amazon


Lost In The Ghost Light – vinyl


Lost In The Ghost Light – CD/DVD

Stream Lost In The Ghost Light on Spotify





no-man – Heaven Taste 12″

3 06 2016
heaven tasteHeaven Taste by no-man was originally a 21 minute instrumental from 1993, featuring Steven Wilson, Ben Coleman, Steve Jansen, Richard Barbieri and Mick Karn.

This 2016 12″ vinyl release comes out on June 10th on Finnish underground dance label Sähkö, and is available to buy from Burning Shed.

The 2016 Steven Wilson edit of the original mix is obviously my favourite version on the 12″ – and I can’t wait to hear this on vinyl (this review is from digital copies of the two tracks).

If you don’t know Heaven Taste yet, it has a lot of the hallmarks of early no-man – plenty of breakdowns, soaring violin and guitar lines, but sadly no Bowness vocals as this is one of the bands instrumental pieces.

Heaven Taste is one of the rare studio tracks by no-man to feature Jansen, Barbieri and Karn (Japan / Raintree Crow) who toured with the band in the early 90’s. The track is powered by an impeccable groove that kicks into gear after the twinkling synth, violin and guitar intro, and its instantly clear that you are listening to Steve Jansen and Mick Karn, one of the late 80s / early 90s great rhythm sections.

Heaven Taste is built on repetition and repeated motifs but it would be too easy to label this music as trance, as there is a lot going on – too many layers, peaks and troughs for it to be so easily lumped into the one genre.

Just before the half-way mark we are treated to a short, wonderful piece of Mick Karn bass playing and then the percussion and keyboards ease the groove back in.

I love the space in early to mid-period no-man – take a listen to the bands work on the Speak album or Flowermouth and prepare to be amazed.

cgstrings

I take every opportunity to enthuse about the music of no-man, so I’m always going to prefer the original performance over a remix, but the 9 minutes long Jimi Tenor rearrangement sits well with me. The point of a remix is to give the listener a different taste from the original, or maybe to tease something out of a song in a style or using a technique that might be somewhat alien to the original artist.

This process might also lead to a new audience gaining exposure to music that they may be unfamiliar with, and I certainly think this is the case with this ‘rearrangement’ by Jimi Tenor. There is enough of the original musicians performances to be a recognisable version of Heaven Taste, but it is a definite updating and re-imagining of the song, and this new arrangement takes the song to different and unfamiliar places.

New instrumentation has been added to the original early 90s performances, and whilst there are two or three short sections where Mick Karn’s fretless bass is quite high in the mix, there is noticeably less Jansen, Barbieri and Karn in this Jimi Tenor version, so its a very different beast.

Some of the synths and certainly the style of the flute lines would not be what you would expect in a no-man song, so its interesting to hear another musicians fresh approach to the track. I hope this 2016 re-imaging of Heaven Taste leads to more people seeking out and enjoying the music of no-man. And if you are already a no-man fan, you will enjoy these new versions.

Buy Heaven Taste (12″ vinyl) from Burning Shed

Visit the no-man website to hear more no-man music





Tim Bowness – Stupid Things That Mean The World

1 07 2015

stupidthings220Stupid Things That Mean The World is the the third solo album from
no-man / Henry Fool singer Tim Bowness, and comes just over a year after his acclaimed Abandoned Dancehall Dreams release.

Stupid Things That Mean The World displays much more variety than its predecessor. A case in point is album opener The Great Electric Teenage Dream, a powerful, aggressive early 70s Bowie-esque piece driven by dirty guitars (courtesy of Bruce Soord and Michael Bearpark) and thumping drums from Sanguine Hum‘s Andrew Booker and Pat Mastelotto from King Crimson.

“Once a record, now an unpaid stream.”

Sing To Me evolved from a 20 year old previously unreleased no-man song, with Bowness adding new lyrics and an expanded arrangement. Hazy violin lines from Anna Phoebe flit amongst the performances delivered by the regular Bowness band of Stephen Bennett, Colin Edwin, Michael Bearpark and Andrew Booker.

The Celtic sounding twin-guitar solo (Thin Lizzy eat your heart out) from Michael Bearpark really lifts the end section of the song.

Where You’ve Always Been is one of the early surprises on the album. A gossamer light piece that evolves as the song progresses, its a perfect summer song. The sad lyrics with remarkably uplifting music (a co-write with Roxy Music‘s Phil Manzanera) work surprisingly well together, and the end result is a song that sounds unlike anything Bowness has released previously.

Some lovely piano work from Stephen Bennett and moving guitar lines from Manzanera transform Where You’ve Always Been into one of the highlights of the album.

“Quoting lines from books you borrowed – the way you’ve always been.”

Photo by Charlotte Kinson

Stupid Things That Mean The World sits well in the sequenced album – its always a good sign when an album is well-paced. The albums title track is a naggingly addictive song, underpinned by Run Like Hell sounding echo guitar lines, and an outro section that reminds me a little of the quiet beauty of Virginia Astley.

Know That You Were Loved is one of the most moving songs Bowness has ever recorded, up there with no-man’s wherever there is light. Underpinned by soft backing vocals from David Rhodes (Kate Bush / Peter Gabriel) and guitar lines from Bruce Soord and Rhys Marsh, the simple arrangement reminds me of a lot of the mid 70s and the work of David Crosby (particularly If I Could Only Remember My Name…) and the sonic experimentation of bands like 10cc.

It’s my favourite Bowness vocal performance on the album, with lyrics that are very personal and touching.

The frailty of Know That You Were Loved is quickly washed away with the most brutal track on the album, Press Reset. Harking back to when no-man were flirting with the industrial, beat-driven material of Wild Opera, Press Reset takes the power of no-man’s Bleed and feeds it into my favourite track on the album.

“Tanked-up boys and weekend girls
Lying wasted on the pavement.”

A song dripping with isolation and rejection, the restraint shown by the musicians throughout the first half of the song ends abruptly and the remaining section will probably blow your speakers (and your mind) with its unbridled power.

All These Escapes drops the tempo back down, and revisits a song originally written back in the late 1980s. Sounding like it could have been included on a late 80s Peter Gabriel album, All These Escapes does not overstay its welcome and fades out as the beatless Everything You’re Not creeps in.

By far the most unusual song on the album, violins and proggy synth lines interweave the backing vocals provided by Bowness & Peter Hammill. An added bonus is the inclusion of brass in the arrangement. Whilst not exactly the Brighouse & Rastrick Brass Band, think more Peter Skellern and the mighty You’re A Lady. Listening to Everything You’re Not fuels my desire to hear more colliery brass in my pop music. Make it so,  Northern musicians, make it so.

Everything But You is a lyricless, short companion piece with some lively Jethro Tull-like flutes from Andrew Keeling and violins from Charlotte Dowding.

Photo by Charlotte Kinson

Soft William is a short but sweet song you might remember (in much simpler form) from the days of Tim’s Myspace page. Ah, digital nostalgia. Before you know it, the final track on the album is here.

At The End Of The Holiday is a sepia tinged shanty that ends the album perfectly. Soft acoustic guitars and gentle drums give the feel of a Martha’s Harbour for the 21st Century.

“She feels the breeze caress her skin, Wishes she wasn’t quite so thin.”

One of the saddest songs in the Bowness canon, with an almost baroque arrangement in some sections, At The End Of The Holiday is a fitting end to the most ambitious release to date from Tim Bowness.

Buy Stupid Things That Mean The World from Burning Shed – Burning Shed pre-orders come with an exclusive signed postcard and – on release day – a link to a flac download of a 5.1 mix of the album by Bruce Soord.

Buy Stupid Things That Mean The World from Amazon UK

Stupid Things That Mean The World album artwork by Jarrod Gosling
Tim Bowness photographs by Charlotte Kinson





Tim Bowness – Abandoned Dancehall Dreams

11 06 2014

Tim Bowness - Abandoned Dancehall Dreams

A mere 10 years after his debut solo album, no-man / Henry Fool singer Tim Bowness releases Abandoned Dancehall Dreams on June 23rd on the Inside Out label.  And it’s a world away from his debut.

The Warm-Up Man Forever kicks the album off in style – the opening song seems to feed off the spirit of mid-80s Kate Bush, from the urgent Sat In Your Lap toms through to the Hounds of Love referencing strings. Although the pace of the song is definitely cranked up a few notches from these Bush classics – imagine the Siouxsie & the Banshees drummer Budgie pounding away in a post-punk stylee, if you will.

“Cruising the backstage, spitting feathers”

The Warm-Up Man Forever is a great opening song, and has really grown from the version performed on the no-man tour a couple of years ago. A blood-thirsty guitar solo from Michael Bearpark brings the song to it’s end.

In an alternate universe, this is the track that opens this weeks edition of Top of the Pops, pop pickers.

But that was just a phase…

Smiler At 50 slows the pace, and sets the tone of loss and regret that runs deep throughout this album.

“The girl that Dads could laugh with, a face just right for first kiss”

A beautiful, aching string refrain signals the middle section of the song, as it heads towards its unexpectedly proggy ending. Fans of Steven Wilson‘s recent albums will love this powerful, dissonant outro. The songs on this album have really been given the chance to stretch and find their own space, with longer instrumental passages that are missing from previous Bowness solo material.

Picture by Charlotte Kinson

Before you have a chance to recover, the most heartbreaking track on the album hits you. Songs Of Distant Summers is in the mould of the classic no-man ballads of years gone by. Hanging piano chords, underpinned by sweet synth layers and deep bass, with a lyric that touches on the feeling musicians sometimes experience during that intense moment of creativity.

“Sweet songs from fading summers, old friends who grew apart”

For some reason, this song reminds of the wonderful, blissed out classic Winter in July by Bomb the Bass. I remember reading an interview many moons ago, I think it was with Bernard Sumner from New Order, who said he woke up to Winter in July playing on the radio and he thought he had died in his sleep and woke up in heaven.

Whilst Songs Of Distant Summers is virtually beatless, it has that heavenly feel mixed with found-sounds buried deep in the mix, and it takes you to another place. Oh, and I’m always a sucker for any song with rhodes piano.

I’ve been living with the album for nearly six months now, and I really do believe that Songs Of Distant Summers is up there with no-man’s Truenorth as one of the finest Bowness songs.

She sees the factory buildings…

Waterfoot has shades of another Bowness vehicle, Memories of Machines, his collaboration with Giancarlo Erra from Nosound. The lyrics and music reference an industrial Northern England long since disappeared (in a similar way to the excellent Big Big Train). Emotive synths (plus more rhodes, yay) and a lovely acoustic guitar reference Steve Hackett and a little of the spirit of early Genesis to these battle-scarred ears. Waterfoot really grows after repeated plays, and it’s playfulness is a joy.

This may be controversial, but I will fight the corner for Dancing For You being on a par with some of the mid-80s Phil Collins ballads. Yep, you read that correctly. Phil Collins has always been an easy (lover) target – but In the Air Tonight, If Leaving Me Is Easy and Don’t Let Him Steal Your Heart Away are wonderful songs. Have a listen, and let go of your prejudice.

Picture by Charlotte Kinson

Anyway, back to Bowness. The piano and 80s drum machine might reference classic Collins, but the lyrics are much more hard-hitting and direct than anything Mr Sussudio has committed to vinyl.

“She was dancing for you, and you looked away.
Dancing for you, another you, on another day”

The 70s sounding backing vocals and decaying guitar top off probably the saddest song on the album. And the sad songs say so much, don’t you know.

Smiler At 52 finishes the story from earlier in the album’s song cycle, and sadly it’s not ended well for dear old Smiler. Glitchy percussion and a nagging keyboard line underpin the story of a lonely, middle-aged Smiler and her mountain of regret.

“Far from young and not yet old.”

Looped vocals and an engaging bass-line take the song to its fade.

I Fought Against The South is the longest track on the album, and probably the biggest surprise on first listen. It’s the track on the album that really captures that live no-man feel from the recent live dates, and is almost a cousin to one of my favourite no-man songs, lighthouse.

A wonderful, loping beat and heart-wrenching strings and solo violin drive this slow-burning epic track. It’s a perfect headphone track, with great separation between instruments – listen as a dirty, scratched organ smashes into the mix 1/4 of the way through, and then disappears, taking the strings with it.

“The dream was in tatters, so what did it matter? My temper was quick but my movements were slow”

After a few seconds of near silence, the toms usher in the final, powerful instrumental section. Played loud, the fluttering cymbal work and interplay between guitar and keyboards is up there with the finest modern-day progressive music.

Too much is not enough

Normally, I Fought Against The South would be the perfect album closer, but Bowness has chosen to close the album with Beaten By Love. The oldest song on the album, this is the definitive version. A perfect post-punk bookend to the album opener, Beaten By Love is the darkest track on the album, with some fine bass work by current no-man bassist, Pete Morgan. Tim’s partner in no-man, Steven Wilson, as well as mixing the album, contributed the frankly evil-sounding guitar to the album’s menacing closing track.

“So completely, beaten by your love”

Abandoned Dancehall Dreams deserves to be heard by as wide an audience as possible. It’s almost an oddity in the modern era, a throw-back to those carefully sequenced releases from the golden era of classic albums.

Its a release that I think will eventually be considered as a career highlight. The attention to detail is evident throughout the whole package – from the range of wonderful, individual performances from musicians such as Pat Mastelotto (King Crimson), Porcupine Tree‘s Colin Edwin, Anna Phoebe and members of the no-man live band, to the album mastering by Pink Floyd engineer, Andy Jackson.

Potentially my favourite album of 2014? I thought it would be when I first heard the album back in January, and I’ve yet to hear anything released this year to make me think I was wrong.

Picture by Charlotte Kinson

Sounds of Distant Summers

The two CD version of Abandoned Dancehall Dreams contains a companion CD of alternate versions and out-takes. The wonderful Grasscut contribute a string-driven, more percussive take on Smiler at 52.

Ambient keyboard overlord Richard Barbieri (Japan / Porcupine Tree) delivers a colourful mix of Songs Of Distant Summers, seeped in the nostalgic tick of clocks, childrens toys and low, rumbling bass synth.

UXB serve up the most radical alternate mix, with the boy and girl vocals of Dancing for You brought to the fore, and the Bowness lead vocals completely stripped out. It’s almost like an electronic Swingle Singers! Please believe me when I say it works really well.

The 5 remaining tracks are out-takes from the album sessions.  The track Abandoned Dancehall Dream is a bossa-nova beat, scratchy stereogram sounding track over which Bowness croons  “the sound of dead men singing (they love you)”. It reminds me of the music of The Caretaker (think Kubrick’s The Shining), and it’s an intriguing shorter than short song, that whilst it fits the abandoned dancehall concept, sonically does not fit on the main album, but thankfully has found a home on the companion disc.

The same can be said of The Sweetest Bitter Pill – a jazzier song than any on the main album, with some lovely synth work. It featured in early album sequences but always stood out a little, and so found it’s rightful home on disc two.

The Warm-Up Man Forever (band version) sounds like early U2 fed on a diet of Icicle Works albums. It’s good to hear this early take, which sounds like my memory of how no-man performed this track on their last tour, but it’s surpassed by the main album take.

The remaining two tracks are alt-takes of Songs of Distant Summers, recorded during the early band sessions for the album. More guitar driven than the album version, they offer a different perspective, but as WUMF, the seeds cannot compare to the full-bloom.

Whilst you will probably dip into the companion album every now and then, its the main album that you will find yourself returning to time and time again. So treat yourself to a copy from one of the links below.

Order Abandoned Dancehall Dreams from Burning Shed.

Buy the CD from Amazon UK

Buy the CD on Amazon US

Visit the Tim Bowness website

Tim Bowness pictures by Charlotte Kinson





The Opium Cartel – Ardor

6 11 2013

"Ardor" by The Opium CartelArdor is the second album from The Opium Cartel, an outlet for the more pop orientated music of songwriter/producer Jacob Holm-Lupo from Norway’s art-rock band White Willow.

Ardor is inspired by the 80s pop of The Blue Nile, Thomas Dolby, Japan, Peter Gabriel and Kate Bush, as well as drawing on more modern electronic music by the likes of M83 and Air.

Fans of 80s music will also recognise the warm synth sounds of the Prophet 5, Fairlight, Oberheim OB8, and the PPG Wave, that are scattered throughout the album’s 9 tracks.

Album opener Kissing Moon features Venke Knutson and Rhys Marsh on vocals, and features some wonderful, frenetic percussion and the first appearance of those lovely warm synths!

When We Dream (stream the remixed single version below) has shades of Icehouse and a-ha in the vocal performance from Norwegian singer Alexander Stenerud. The most commercial track on the album, with a very anthemic chorus, and an addictive guitar riff. When We Dream bleed’s pure unadulterated nostalgia.

Silence Instead is an early album highlight, co-written by and featuring  vocals from no-man’s Tim Bowness. A slow-burning song, with some delicious guitar work, and a synth sound that reminds me of my favourite Thomas Dolby track, Screen Kiss. Tim is a regular collaborator of  Jacob’s, featuring on the debut album by The Opium Cartel as well as White Willow’s progressive masterpiece, Terminal Twilight.

“The snowdrifts are real but the mountains are fake”

If you miss a-ha (who split in 2011), you will love Northern Rains, which sounds like a long-lost 1980s ballad from Morten Harket & co, underpinned by the Peter Gabriel rhythm section from 1980.

Sorry about all the 80s references in this review, but it’s fun playing spot the influence, and it helps that the 80s homage in the music is not ironic or cheesey, but playful and pays respect to the creativity and exploration of a much maligned decade.

Watch the Ardor album trailer

Revenant features the only vocals on the album from Jacob Holm-Lupo, and is one of the albums more progressive tracks. I don’t know if it is inspired by the recent French TV series “The Returned / Les Revenants” but there are certainly some nods to the excellent Mogwai soundtrack in the instrumentation.

White Wolf was the first song written for the album, and heralds a change in the album’s direction from this point in, with each track getting steadily more progressive. The middle section is very moving, and veers off into Yes-inspired territory towards the end, with a Chris Squire-like strong, melodic bassline.

The Waiting Ground has the classic synths still present, and features a great performance from Henry Fool (and current no-man live band) keyboard player Stephen Bennett.

“If I run, where do I run to?”

Then Came the Last Days of May is Ardor‘s only non-original track, a haunting cover of a classic rock ballad from Blue Öyster Cult’s debut album from 1972. This is one for fans of Opeth’s Damnation album, and a perfect way to set-up the album finale.

Mariner, Come In is the epic that completes the album. A rare vocal outing for Henry Fool’s Stephen Bennett, this track is more in keeping with recent White Willow, and the latter section of the track is most definitely jazz-rock and proud of it! A wild saxophone solo from Harald Lassen on top of layered synths is reminiscent of parts of the recent Steven Wilson album, and after 11 minutes, the track and the album itself, slowly fades to a close.

Ardor is a very different beast to the first Opium Cartel album, and feels more consistent (even though it has a wider variety of vocalists). It should appeal to a wide audience – from the more mainstream fans of modern electronic / pop to lovers of modern progressive music. Oh, and fans of 80s music!

Buy Ardor on Amazon UK 

Buy Night Blooms  on Amazon UK

Buy White Willow’s Terminal Twilight on Amazon UK





Tim Bowness / Peter Chilvers – California, Norfolk

3 11 2013

california, norfolk was the debut album from Tim Bowness (no-man/Henry Fool) and Peter Chilvers (Brian Eno/Karl Hyde). Originally released online, with no promotion and in very limited quantities in 2002, california, norfolk has been given a well-deserved deluxe-edition treatment by the Burning Shed label in 2013, and will now hopefully reach a wider audience.

disc one

california, norfolk cover

Disc one contains the original album, which is improved by the sympathetic Michael Bearpark remaster. This is not a brickwall, pump-up-the-volume remaster, but one which breathes space and separation into the original recordings.

So the bass sounds fatter, the strings cut through the mix and you hear sounds that were somewhat hidden before (such as what sounds like a clock in album opener hostage).

If you haven’t heard california, norfolk before, it’s a perfect late-night album. Echoes of The Blue Nile’s debut album filter through on hostage.

“the girl you never forgot,
went underground, defences shot”

Lyrically, hostage can be filed under the same heading of unrequited as Everything But The Girl’s sublime Missing. Both touch on memories of people who have moved on, whereas in hostage, I get the impression that the subject did not find “some better place”.

The title track has a real feel of a decaying seaside town, and reflects on the characters who remain behind when the glamour has faded.

post-its is one of my favourite songs, period. The perfect torch-song.

It’s the track I’ve played most from this album, since it’s original release 11 long years ago.  A processed old drum machine, yearning strings, and slightly off-kilter guitar serve as a perfect backdrop to some of Bowness’s most direct and emotive lyrics.

“We spent a lifetime devising plans, to waste our lives.”

post-its is a song I never tire of hearing, and it’s wonderful to hear this song again with the added clarity of the remaster.

“In this town not meant for kissing, we sat and kissed”

also out of air wasn’t one of my favourites when the album first came out, but has grown on me over the years. Some lovely Frippesque guitar on this track.

days turn into years is the bleakest song on the album. Set against a backdrop of textured synths and relentless rain bouncing off rooftops, this tale of being trapped in a situation where little changes is not for the faint-hearted.

“Photos of cats, in northern landscapes
lie on the bed, all wet with tears.”

rocks on the green is the album’s proggiest moment, with marimba, bass and guitar slowly building in intensity throughout the song. Some lovely synth lines creep into the mix towards the end.

winter with you is a track that divided listeners when the album was originally released, mainly due to the footsteps in the snow effect that runs through three quarters of the track. Personally I think this effect adds to the mood of the song, and offers an alternative rhythm that makes more sense than taking the easy option of just dropping a drum loop into a song thats so obviously rooted in the winter months.

Maybe it’s my love of snow, but around November of every year winter with you appears on my playlists. I love the sound and feel of walking through deep, fresh snow and I love sad, melancholic songs, so that’s all the boxes ticked right there.

“It never felt the way you wanted, she never came the night you cried.”

Its the longest track on the album by far, but one of those rare album epics where it doesn’t seem to last that long. Marimbas make another appearance to usher in the second part of winter with you.

“Don’t want to be a part of this.”

This track is a great companion piece to the winter-themed Iceland by All About Eve and Kate Bush’s 50 Words for Snow from 2011.

dreamer’s song end the album, and lifts the mood, like the arrival of spring. Musically uplifting, a pastoral sounding piece originally written for Henry Fool, lyrically it’s as miserable as ever, thank goodness!

Picture copyright Carl Glover

disc two

The second disc of california, norfolk is made up of a remaster of the overstrand alternate / outtakes collection, with some previously unreleased studio cuts and live recordings.

winter with you (alternate) is a snow-free zone, with fender rhodes piano and a much more chaotic string arrangement.

post-it’s (alternate) has a wonderful piano line after the first chorus, and is a good alternative take on the song, but cannot surpass the original version.

One of the highlights of the second disc is the version of sorry looking soldier (alternate), a song from the long out-of-print World of Bright Futures album, and this is one of my favourite versions of the song.

The alternate version of rocks on the green has a Mike Oldfield feel to the arrangement. world of bright futures (alternate), is a wonderful wurlitzer-like version of the Samuel Smiles song, and another great version.

criminal caught in the crime is a track that was re-recorded for the Slow Electric album from 2011, and gives a hint of what the second Tim Bowness / Peter Chilvers album might have sounded like. It’s a much more electronic piece than anything on the main california, norfolk album, and has some lovely textures and organ sounds.

Four live songs bring the second disc to a close. Hearing the songs performed with just piano and voice in a live environment shows how they have evolved over the years, and the short version of post-its is my favourite of the four live songs.

Deluxe-edition packaging

The 2013 version of california, norfolk comes in a deluxe dvd-sized digi-book, which includes sleeve notes by Tim Bowness and Peter Chilvers, plus previously unseen artwork from Carl Glover.

Buy california, norfolk from Burning Shed

Visit the Tim Bowness website








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