A Different Aspect #94

Those familiar with Davey Dodds music will no doubt recognise the title of the second single, Light The Beltane Fire, as it is the concluding song on his 2021 The Rite of Spring album, written and conceived during the ‘lockdown years’. Subsequent live performances have prompted Davey to re-record the track, at a raised tempo, and more in keeping with the band’s stage rendition.

The new version features David Clifford’s powerful drumming which works more effectively alongside Daniel Billing’s busy bass lines. Davey adds texture and power as he wields his mighty axe, or in his case a double octave mandolin played through a Marshall stack. The keyboards from the original have gone benefitting the vocals which now sit further forward in the mix. Similarly and as with The Veil the track is split and once again part two is upbeat. Here the extended instrumental section allows greater freedom for the musicians, especially violinist Gillie Hotston who weaves her magic. I feel sure this song will be something quite special in the live environment…

In my review of Regna’s debut EP, Meridian, released in 2015, I remarked that presumably it was the forerunner to a full album, and that I would certainly be keen to hear the band’s next outing. With the 2015 line-up still in tact and perhaps a little later than anticipated the band did return at the end of 2023 with Cinema.

I’ll cut to the chase and if Cinema had landed on the table a lost gem from the mid 70s I would see no reason to query its provenance. Regna unashamedly wear their early ‘progressive music’ influences with pride, and it has to be said they pull it off admirably. Now, at this point it would be so easy to scribble a list of those early exponents of progressive rock to spark, or extinguish, the appetite. Some might hit the mark, but not consistently – as although Regna may draw inspiration from the era, they really have created an album of their own. I’ll simply say if the thought of Hammond B3, Moog synths, Rhodes piano, mellotron, clicky Rickenbacker bass, jangly 12-string guitars, etc, floats your boat then take a trip to the Cinema show.

Here’s a quick taster of the music on Cinema. Opening, we have a rousing solo organ piece which then flows neatly into the up-tempo Return to…. Again the organ leads, as it does pretty much throughout, although all the band have numerous opportunities to shine. Spyglass begins with acoustic guitar gradually growing in stature as the band join in. There’s some great interplay between the keys and guitars and Miquel González takes on an extended solo in the middle part of the track. This winning formula is one employed across the album which clocks-in at just over 47 minutes – LP sized – and yes it is available on vinyl.

And you don’t need to take my word on this as the whole album is featured in the video below…

Another album that has languished way too long in the ‘to do pile’ is the second album from New Jersey based The Twenty Committee. Some ten years since the release of their extremely accomplished and assured debut, A Lifeblood Psalm, the band return. With the line-up almost in tact it is therefore not surprising they have retained their distinctive sound which to these ears combines a fine blend of intricate progressive rock which isn’t afraid to stroll into jazz/fusion territory. Equally the music features strong themes and melodies, ear friendly vocals and a hint of musical theatre.

Let’s take a look at the album opener, Recodified. From the atmospheric start the track morphs through a brief Jeff Beck inspired guitar theme before climbing into a busy and animated instrumental section – the next few minutes are quite breathtaking. After the fiery intro the music calms for a lengthy, laid back vocal section which rests very comfortably on a gentle bed of keys and guitars. We get big again with a tasty guitar break before the band take us once more through an extended instrumental journey.

In contrast we have the relatively simple arrangement that is Embers. Probably my favourite track from the album as it is simply stunning! A great vocal from Geoffrey Langley, soulful guitar, and an arrangement full of power and emotion.

Then there is the album’s title track, a thirteen minute plus epic in both length and scope. Geoffrey Langley’s opening piano piece is stunning (oops… I’ve used that word again), but it is. Langley then goes on to perform the infectious vocal, which later returns as a duet with Renaissance vocalist Annie Haslam. The Cycle Undone is a dramatic, theatrical piece and I must admit did take a few listens to fully sink in. But there again there’s a great deal going on here, so perhaps not surprising.

Chiming piano is the foundation for the album’s final song and again another fine vocal. The track builds throughout culminating with a great guitar break, crossing sabres with the equally impresive keyboards.

Before closing a quick mention for the artwork for the album’s sci-fi themed artwork courtesy of The Armada Project.

As The Twenty Committee delivered such a strong calling card with A Lifeblood Psalm and this latest release simply confirms the band’s credentials, I’m somewhat surprised that they are not lauded more highly by the progressive community. Well worth checking out!

Spring is here!?

Well I totally missed that deadline, so I’ll start again…

Summer is here and time for a the first of our, now customary, quarterly, bi-annual collated ADA reviews featuring Exowst Scotland. Just in case you missed the previous reviews, then CLICK HERE and you’re almost there. And for those who have missed all seven updates so far… Exowst Scotland is the creation of composer, drummer, percussionist and multi-instrumenatlist Alan Emslie (Snow). The key to the tracks is spontaneity and to this end, each part is a live ‘one take’ performance. All the ‘singles’ are simply denoted by a number, the significance of these numbers is open to any number of interpretations, and has been over the past couple of years.

A break in the Exowst tradition, which would normally see the ‘singles’ released at the end of the month, however more in keeping with a much older tradition, 20242024 was released on the cusp of the new year. A haunting Exowst backdrop lays foundation for the customary Scots song, Auld Lang Syne, sung to bid farewell to the old year on Hogmanay – that’s New Year’s Eve to us sassenachs 😉 I appreciate the sentiment, although the song itself isn’t one of my favourites, however this wonderfully darker version could well become my go to play-out from now on. Mark Greelen’s haunting trumpet sits very comfortably within the excellent string arrangement.

The above review was written in April with the intention of it appearing in the first ADA of 2024. Well that didn’t happen either. So yet another break in tradition and a summarised summary of the Exowst singles so far in 2024…

February’s 20242924 and March’s 2024666 offer contrasting live takes utilising Alan’s chosen weapons – drums, synthesizer, 8 string electric guitar and vocals. The tracks are dark and immersive with the latter ‘666‘ having a number that speaks for itself. As with all the singles they are accompanied by a video which suggest the idea, or concept, behind the piece. A monochrome sea for February whilst March has a shifting red graphic which gradually dissolves into a desolate fiery landscape. All the videos/tracks for 2024 can be found HERE on the Exowst website.

We’ve moved on to April 🙂 and this month’s track/video, 202447, gives us a great opportunity to see Alan behind the kit, albeit a somewhat stripped down version. It also acts as a promotional video for ASBA, a long established French company who specialise in handcrafted drums.

May 202417 | June 2024224 | July 2024224 (Heavy Version). July? Am I getting ahead of myself?

May’s track, as is the case for June and July releases, has an emphasis on the ‘vocal’. Not that vocals are new to Exowst as the have featured in previous singles, more that Alan has noted it here. 202417 has a light touch, no downtuned guitar, but still retains the customary percussive pulse. Using the same music source – cathedral organ and synthesizer – June and July releases are somewhat darker. As the title infers July’s version is heavier, more anguished version, bolstered with the addition of guitar and different mix…