Spring - Spring

Spring was a one-shot Progressive Rock band that released their only sole self-titled debut album in 1971 on the NEON label which was a sub-label from RCA Records. The album had been previously reissued on CD from Akrama, Repertoire and The Laser’s Edge to name a few.

This year, it’s been given the 2-CD format by the good people from Esoteric Recordings that features a 16-page booklet that features unreleased photographs, new liner notes done by Malcolm Dome, and not to mention the notes from Ken Golden on his notes from the time The Laser’s Edge released the album back in 1992.

Hailing from Leicester, the band recorded their debut album at Rockfield Studios with the late great Gus Dudgeon (Elton John, Locomotive, XTC, Joan Armatrading) at the production helm. The album is known for having three Mellotron’s on here. It’s this combination of Czar, Gracious and a dosage of The Moody Blues thrown in.

You can close your eyes and imagine being in your house in the time that the album came out and listening to it from start to finish and almost being completely blown away on where they would have gone next. Pat Moran’s vocals is astonishing and very relaxed. With the lush opener The Prisoner (Eight by Ten), it has a folky feel and a bass line done by Adrian “Bone” Moloney followed by the Mellotron going in through the emotions that fits the vibe with a sad yet ascending melody to fit the atmosphere.

Shipwrecked Soldier starts with militant drumming introduction done by Pick Withers before kicking off into a political heavy rock roar thanks to the riffs from guitarist Ray Martinez while the piano ballad of Song to Absent Friends (The Island) shows Spring their softer side. It has a reminiscent of Elton John’s song lyrics and Pat showing his singing to the lyrics as if it was almost written by Bernie Taupin with a strong vibration.

As I’ve mentioned earlier on the opening track, Spring have a Folkier side. On Boats, it begins with a intro and in the midsection in the style of Fairport Convention, then the Acoustic Guitar goes into a Waltz rhythm and featuring a country-like sound on the electric guitar thrown in.

The closing track that has an ascending rhythm off into the sunset on Gazing, the tune begins in the style of the choices that we make and everything that we do is a story in our head and waking up by realizing, it was all a dream. The song almost reminded me of the end of Gentle Giant’s Three Friends with a symphonic feel, but in the moody elements relaxing momentum that closes the book with a new beginning and a new day.

The second disc shows Spring moving away into the Progressive Rock sound and going forward into a Jazzier and heavier direction in which it could have been their second album, but then the band would later be dropped by the label and soon they broke up after their debut album didn’t do well. When you listen to the bonus tracks, you could understand why they weren’t able to succeed, but it is very interesting hearing the tracks and knowing that it was coming to an end for them.

But many years later, Spring’s only debut album is a collector’s item, and now it’s finally getting some recognition it deserves. So a big hats off to Mark and Vicky Powell for reissuing a hidden treasure that was ahead of its time and dusting it off for a cleanup. So if you love the sounds of the Mellotron’s and bands such as: Czar, The Moody Blues, Gracious, and Cressida, then I highly recommend exploring the wonders and magic of Spring’s sole self-titled debut album. 

Crown Larks - Blood Dancer

The strangest piece of music can always come at you and give the listener a bit of interest to see what is about to come next. It can be psychedelic, nightmarish, avant-garde, shoegaze, or jazz, it does not matter. What matters is what would happen if the five genres are combined into a full circle and it's an adventure into the other worlds of what is to come next. And the next thing, is that it has taken my ears into another level. And the level is a six-piece group from Chicago named Crown Larks.

Formed three years ago, Crown Larks are this bizarre combination between Wooden Shjips, Amon Duul II, Gong, Can, the Post-Rock sounds of the late '70s, free jazz, and Space Rock pioneers, Hawkwind. They released their EP back in 2013 entitled Catalytic Conversion. But when I first heard their Music, I was taken aback from what I was hearing. It was almost as if it was recorded back in 1975 and almost completely forgotten about. But the moment I heard their debut album, Blood Dancer, it was almost as if it was twisting the sounds and having a freak-out adventure into the cosmos with four centerpieces.

The band considers Lorraine Bailey on Keyboards, Clarinet & Vocals, Jack Bouboushian on Guitar, Bass, Sleep Machine, Pedals, and Vocals, Bill Miller on Drums, Peter Gillette on Trumpet, Flugelhorn, and Party Favor, Chris Boonenberg on Sax and Piano, and Kevin Ohlau on Saxophone and Flute. Chapels , an ominous laid-back spacey waltz That Jack really nails Into His vocals as if it was using an echoplex for the first minute and fifty seconds in the realms of Radiohead's Kid A- era and then the Electric Piano comes into place for a slowed down beat and then it Becomes a frenzy.

Lorraine goes into town on the Electric Piano in the styles of Joe Zawinul and Chick Corea as the swirling noises of guitars going into different feedback vibrations and Miller's drumming goes into Those areas in Fusion techniques of Billy Cobham and Bill Bruford before they head back into the final waltz. Fog, Doves is a darker and sinister composition as Lorraine and Jack take turns with vocals.

And flutes, saxes in throwing out of nowhere That give it the vibration of not seeing anything in the atmosphere while descending Blood Mirage goes from a slowed-down rhythm into a lightning speed of Space Rock Jazz evokes the essence of the golden-era of Hawkwind , Canterbury scene, and the sax section reminiscing of King Crimson.

The closing track, Overgrown, goes into a moving sermon That Jack is nailing His vocals through the double-tracking sounds whilst the organ gives it a chilling mourning before the droning sound kicks in with the haywire effects that makes it a chilling finale. I have enjoyed this album so far about four times now and I have to say that Crown Larks really know what they are doing.

I have to admit, it’s not an easy album to listen to, but they have got something up their sleeves with their Psychedelic Post-Rock adventures. If you admire the Experimental, Space Rock, Jazz Rock, and the golden era of the ‘70s of both prog and post-punk, then enjoy the sonic adventures of Crown Larks.

Galley Beggar - Silence and Tears

Galley Beggar are a six-piece band hailing from Kent/London that are carrying the spirit of the late ‘60s and early ‘70s sounds of the Psychedelic Folk Rock genre who formed six years ago. It’s this combination between Steeleye Span, Trees, Mellow Candle, and Fairport Convention rolled up into one giant milkshake that is served fresh. The band considers: Paul Dadswell on Drums, Percussion, and Vocals, David Ellis on Guitar, Mat Fowler on Guitar and Vocals, Bill Lynn on Bass, Celine Marshall on Violin, and Maria O’Donnell on Lead Vocals.

The band have released two albums in which they self-released. From their 2010 debut (Reformation House) to 2011 with their sole self-titled second album. This year, they are signed to Lee Dorrian’s label Rise Above Records. Which is home for bands such as: Circulus, Blood Ceremony, Lucifer, Purson, Diagonal, and one of my favorites, Astra to name a few. And they have released their third album entitled, Silence and Tears. And I have to say, I am very impressed and completely spellbound of the band’s music.

From the soon to be Folk-Rock anthem essence of Steeleye Span’s All Around My Hat-era of the sing-along militant snare drum, vocals between Maria, Mat, and Paul followed violin jig melody and the finale thanks to Celine Marshall increased playing on the instrument of the traditional folk song, Jack Orion. And moving into the haunting psychedelic late ‘60s touch of Pink Floyd’s More-era from the echoing guitars with a bluesy feel and bass lines that Bill creates the atmosphere for Pay my Body Home.

Galley Beggar also show a tribute to the Acid Folk sound. Geordie evokes the mysterious surroundings that mixes between Trees, Black Sabbath’s Planet Caravan, and Jim Croce while the beauty goes into a dystopian atmosphere followed by a midsection duel between Celine’s violin solo and Paul Dadswell’s percussion in a time signature in ¾ waltz of the post-apocalyptic Empty Sky.

The opening medieval track, Adam & Eve begins with a traditional acoustic riff followed by Maria’s vocals, wah-wah guitars, and Celine’s violin adding a saddened and emotional touch on what the two people are doing by making a deal with the devil of the snake charmer by eating the forbidden fruit and never returning to the garden. It’s a perfect introduction to start the album off, and sets the stage on what is about to become on what they will think is about to come next.

The title track which came from Lord Byron’s poem, When We Two Parted has a renaissance mourning from the acoustic guitars on fingerpicking and playing the rhythm chords as Maria is singing beautifully from her heart. It’s almost as if she is giving writing a letter about betrayal, cold heart, and the promises never kept between each other. And Maria O’Donnell nails it spot on.

The two closing tracks, will make you feel ready to see where Galley Beggar will go into next. Sanctuary Song goes back into the renaissance and countryside folk-song with acoustic guitar, violin, bass, and harmonizing vocals as the cosmic-spacey echoing vocals as the spaceship is ready for take-off to Deliver Him, is a mind-boggler, but it fits well that closes the curtain on the album.

This is a home run for me because it isn’t just a simple Folk Rock album, this is a journey from start to finish. Galley Beggar have released a gem for 2015 so far. And it’s something that Sandy Denny would have been very proud of as the band themselves are following into the footsteps of Prog, Acid Folk, and the Cosmic voyages that is evidential on Silence and Tears. Rise Above Records have done it again. And I hope to look forward of hearing of where Galley Beggar are going into the next years to come in the future of the Psychedelic Folk Rock sound.

Annot Rhül - Leviathan

The soundtrack and movie inside your head can be an excellent combination as you close your eyes whilst imagining the score setting of a dark and cavernous adventure into another world and another universe. And the music of Norway’s Annot Rhül is the perfect dosage to really take the essence of Progressive, Psychedelic, and Space Rock into one. Annot Rhül isn’t a band, it’s a pseudonym name for composer and instrumentalist Sigurd Luhr Tonna.

He plays a little bit of Bass, Guitar, and Keyboards. Sigurd also writes the music on his Laptop and the demos also to come up with brainstorming ideas to lend a helping hand on his first two albums and two EP’s to create a conceptual momentum on where he would want the listener to embark on a journey that is surreal and beyond the beyond. His third album released last year on the Black Widow Records label called, Leviathan, is the album that could have been recorded back in 1973 and would have given a huge stamp of approval in the realms of Pink Floyd.

At times the music alongside the atmosphere of the Floyd, resembles touches between Hawkwind, Pulsar, and Tangerine Dream. And it’s a perfect blend for Sigurd to combine those ingredients. He also brought along some members from Wobbler, Seid, Asagio, Love Revolt, and Manifest. They are giving Tonna a helping hand by showing support and seeing where he wants to take and go a fantastic voyage into those worlds that will sends shivers and goosebumps down your spine and make the hair go up at any moment.

The album begins with the 12-minute suite of the title track. With an ominous synth/guitar introduction that almost sounds like it was recorded in a dark cavernous place featuring the Piano going through a Leslie speaker. And then the guitars go into a spacey riff followed by a haunting melodic Floyd-sque rhythm between rhythm and lead with a psych ascending twist followed by the vocals.

The title-track is a conceptual narrative about an alien lifeform reigning terror towards the sailors for an unexpected attack. And then, the midsection goes into an ambient-atmosphere whilst the tension builds up as the monster is ready for an attack with Guitars, Mellotron, and Drums galore before going back into the relaxing groove on the last two minutes. The next two pieces are inspired by HP Lovecraft’s short stories.

The sonic-adventures resemblance of Hawkwind gives it a real jolt before ascending into a relaxing waltz on The Colour out of Space while going into the spooky climbing momentum of the visions of things to come in a person’s insanity of the creatures coming to their planet are shivering and sending shivers down my spine as if the doctor is to the man on what he is seeing at The Mountains of Madness.

Distant Star features a thumping drum rhythm intro followed by a ‘60s bass line, Mellotron, outer limit synths with a clapping sound into almost what makes it one of the scores for one of the European spy-science fiction flicks, gives it a perfect jolt. And you can imagine Ennio Morricone being very proud of Tonna for capturing the essence of the scores from the time period.

Then incomes the epic, R’Lyeh. In which it’s a five-part suite and Tonna knows his touch of H.P. Lovecraft very well! In the finale of the piece in which it closes the album, it’s energetic, riveting, and eruptive thanks to the heavy guitar parts and the melodic Mellotron’s that is on here. There’s a softer side also in the midsection with the Floyd twist thrown in before going into high gear of a Crimson-Hawkwind adventure into Space and time.

I have listened to Leviathan around four times and I have to say I’m very impressed from what I’ve heard from right into the beginning and into the end. And you have to give Sigurd Lohr Tonna and some of the members that helped out on the album, a huge amount of credit for this mind-blowing album. It’s an adventure you will never, ever forget. So if you love the essence of Pink Floyd, King Crimson, and Hawkwind, then enjoy Annot Rhül’s Leviathan.  

Electric Citizen - Sateen

From the moment I put on Electric Citizen’s debut album Sateen released last year on the RidingEasy Record label (which was formerly known as EasyRider Records), I knew right there that this was a band I was going to be electrified. A band that are carrying the torch of the Doom and Proto-Metal. The name came from Edgar Broughton Band’s Death of an Electric Citizen from their album, Wasa Wasa. Imagine Amon Duul II having nice juicy Hamburgers with Black Sabbath along with Pentagram and making it a heavier and mind-blowing debut that had me on the edge of my seat as if it the album was recorded in 1972 on the Vertigo label.

Electric Citizen formed in Cincinnati, Ohio over a year ago and considers; Ross Dolan on Guitar, Laura Dolan on Lead Vocals, Nick Vogelpohl on Bass Guitar, and Nate Wagner on Drums and Percussion. They have been a supporting act opening for bands and artists like; Joan Jett, Rival Sons, The Cult, and The Sword to name a few. And bands along with Blood Ceremony, Purson, Uncle Acid and the Deadbeats, and Lucifer, who are carrying the torches also, Electric Citizen are the real thing. 

Not to mention winning the 2014 award for Cincinnati’s Entertainment Award in the Rock category. Hawk Nightingale resembles the ominous haunting psychedelic touches of Pink Floyd’s A Saucerful of Secrets-era as if to pay tribute to the song, Set the Controls for the Heart of the Sun as Laura’s voice just sends shivers down my spine when she sings right in front of you. She has this wonderful combination between Alia O’Brien (Blood Ceremony), Renate Knaup (Amon Duul II), and Silvana Aliotta (Circus 2000).

It has a spooky sound, but she nails it at the right moment as Nick, Nate, Ross, along with guest keyboardist Yusef Quotah hit the note where she goes into. And it’s a staggering momentum that they bring into the kitchen table. Opening track, Beggar’s Need, is a killer. Ross’ heavy riffs and rhythm on his Guitar, gives it that driving edge reminiscent of Tony Iommi and then the last 2-minutes, it goes into the style of electrifying punch with a driven beat that almost reminded me of Blondie with a late ‘60s edge psych-hard rock!

Light Years Beyond, brings the touches of Sabbath Bloody Sabbath-era. But with a head-banging and thumping rhythms between Nate’s drumming in the styles of Bill Ward and Nick’s bass playing of Geezer Butler along with the closing track Burning in Hell that while they are carrying the Black Sabbath torch, in the midsection there’s a little brief second of them going into a Krautrock moment and then back into the Dooming momentum.

This is my thirteenth time listening to Sateen. I was hooked right into the moment. And again, I have to say, for me, they hit a home run from start to finish. I love their touch of Psychedelic Doom Metal and the ‘70s occult rock sounds that made me realize that they aren’t just following Sabbath’s footsteps, but honoring and paying tribute to the Ozzy-era and showing that they have really taken me by surprise last year. 

Exovex - Radio Silence

A strong, melodic, and emotional combination makes it touching and an out of this world album that is raw and carries the torch and essence of both Pink Floyd and Porcupine Tree. With two years in the making, the story of Radio Silence is set in the future about a man going through a deep dark depression as he is unable to cope with anyone through deterioration and finds himself in isolation. And the music itself, fits well throughout the entire structure.

It’s also based on the life of Bishop Sibond Alleman who in the 14^th century lived in recluse at the Le Chateau d’Uriage in France. What Dale Simmons, the mastermind behind Exovex, is that he gave the musicians free rein on what would be perfect on the six compositions he wrote and it is a perfect delivery on what is brought to the table here.

Alongside multi-instrumentalist and lead vocalist Dale Simmons, he brought along drummers Gavin Harrison (Porcupine Tree, King Crimson), Josh Freese (Nine Inch Nails, A Perfect Circle, Devo) and Kevin Carlock (Steely Dan), Keyboardist Richard Barbieri (Porcupine Tree), and violinist and cellist Nicole Neely. Listening to this album, is almost like a movie inside your head and Simmons’ telling the story in a narrative format.

And the format itself between the combinations of the two, works extremely well. I can hear sounds of the Floyd from Gilmour’s guitar and the homage to Steven Wilson’s lyrics very well. And Simmons himself has done his homework very well on his research about the characterization and dealing with being alone and not finding help whilst being locked in their own paradise.

Not to mention the three centerpieces on the album that makes it listenable and touching. The opening tracks Stolen Wings and Metamorph are beautiful compositions with an emotional vibe. Guitars both electric and acoustic are almost have a psychedelic vibe almost as if it is going through a Leslie speaker. Not to mention the Synths creating the ambient cavernous atmosphere for an introduction.

What Simmons has done is to carry the inspirations inside his head. And the Gilmour-sque solos with a classical push that have a dramatic and powerful surrounding throughout. The emotional Seeker’s Prayer begins with a signal-like beeping intro as if there is hope for any chance of hope and survival. Simmons keeps the rhythm and the essence of the Floyd’s music and stays true to the visionaries for the first 3 minutes and 20 seconds.

And then, the tempo changes into melodic beats and an ascending harder edge followed by a solo in which in a brief second Simmons pays tribute to Gerry Rafferty’s Baker Street. It’s a very interesting touch, but it almost works very well to show Dale has done very well. This is my seventh time listening to Exovex’s Radio Silence and I have to say Dale Simmons has come a long way of becoming not just a multi-instrumentalist and a songwriter, but more of a storyteller.

Tragic, poignant, stirring, and compassionate, Radio Silence is the album for Dale Simmons to capture those essence on isolation and being locked away in their Shangri-la with no hope of coming out, and I hope there will be more for Dale to see where the future will be next for him.

Xadu - Random Abstract

This is a perfect combination between intense rhythm sections, free rein ideas, Avant-Rock, and Post-Jazz Rock. All of the ingredients are well needed for band members in which the realms for a duo from drummer Xavi Reija and guitarist Dusan Jevtovic as they create the concept for a terrifying and eruptive force as Xadu on Random Abstract released on the MoonJune Records label this year.

Both Xavi and Dusan worked together along with Bernat Hernandez on Bass on Resolution. And Dusan though worked with drummer Marko Djordjevic on 2013’s Am I Walking Wrong? Each of those albums are brilliant and for them to work on different projects, it is quite amazing for the duo to collaborate with each other again for 2015 that will make it complex, surreal, mind-boggling, insane, unexpected, and off the wall as Xadu.

Random Abstract is one of the albums that would make you take note on what they will take the listener into unbelievable results with hypnotic brainstorming ideas. Experimental, Math and Doom Metal, Noise, Atmospheric, and Avant-Garde momentum of an increasing volume to show how Xavi and Dusan can take it up a level in their instruments. I can hear the sounds of a resemblance between Robert Wyatt, Radiohead, Guapo, Mogwai, Elephant9 with Reine Fiske, and Krokofant rolling up into one giant hot burrito milkshake that gives it a delicious and spicy taste to get you fired up on what you are about to hear.

The rhythm on here are staggering between Xavi’s powder keg drumming and Dusan’s post-rock guitar playing with a harder edge sword to it by giving the heavier sound into a throttling roar as if they are going into different parts on the road. Dusan also creates these mysterious and cavernous ambient noises on his instrument to give it a sinister and ominous tone as if something is lurking behind you and having the haywire chaotic effects, makes it terrifying and jump at you out of nowhere.

Xavi also gives Dusan a helping hand on some of the beats and the tempo on the drums that can go from a mellowing beat into a fierce and extreme measure. With crescendos between the bass drum, snare, tom-toms, and the crashing sound of the cymbals, rides, and hi-hat’s, gives it a tidal wave momentum.

Random Abstract is an exploration for both Xavi Reija and Dusan Jevtovic’s free rein. The two of them collaborate very well when you listen to the album from beginning, middle, and end. Leonardo Pavkovic has done a brilliant job bringing more of what is to come for the MoonJune label. I bet there will be more to come between the two of them and if you love Post-Rock, Jazz-Rock, Experimental Avant-Garde music, then Xadu’s Random Abstract is a recommended exploration worth checking out.