A Different Aspect #100

When is a tribute album not quite a tribute album? Purple Spirits might hold the answer. Despite a cover boldly name checking Nirvana, Hendrix, as well as Zakir Hussain, Ancient Future’s latest release treats the idea of “tribute” far more broadly, and far more interestingly than a simple homage to famous names.

Formed in the Bay Area in 1978, Ancient Future describe themselves as “the world’s first and longest‑running ensemble dedicated exclusively to the creation of world fusion music.” Nearly fifty years on, and with seven albums behind them, they remain, I suspect, a group many readers may never have encountered.

This new album leans into the notion that a song’s impact often lies in its arrangement. A friend once said to me, “There’s no such thing as a bad song, just a poor arrangement.” I’ve never been entirely convinced, but I’ve certainly had occasions where a reimagined version has completely changed my opinion. Which brings me neatly to two of the artists referenced on the album cover.

I’ve never really connected with Nirvana, and their brief catalogue doesn’t appear in my CD racks, yet Smells Like Teen Spirit is impossible to avoid. Ancient Future’s relaxed, Eastern‑tinged interpretation is unexpectedly refreshing and a highlight of the album. Different arrangement, different result 😉

The brief Purple Nam heralds Jimi Hendrix who receives a respectful instrumental airing of Purple Haze which is faithful in structure, but coloured by South Asian instrumentation that creates a rather different hue. Collectively these three tracks offering the origin of the album title?

The deeper tributes, however, honour Ancient Future’s own lineage. Punjabi Zhinzaki salutes former tabla player Zakir Hussain, who passed away in 2024. East of the Sun celebrates founding oboist Paul McCandless. Featuring evocative Spanish guitar Tarantas Alap and Tres Tarantas Tres remembers guitarist David Easley, a school friend of band founder Matthew Montfort.

Therefore Purple Spirits might be viewed as a celebration, not just of musical influences, but of the people who helped define the band’s long, distinctive history. Across Purple Spirits, Ancient Future pay homage to the musicians who shaped their journey. The result is absorbing, beautifully arranged, and perfectly suited to those quieter moments of the day.

Great Journeys is the fourth album release by Riffstone, the UK, studio-based, progressive rock collaboration between those unbelievably prolific North-West musicians, Colin Powell (of A Multitude of One and Nova Cascade), and Dave Allen (of Spirergy) and in only a year. They debuted with a narrative-driven, historical concept album, Richard III and then have followed it with the impressive Sanctuary Sky and then Mythical Creatures more recently.

Great Journeys is another concept-driven release exploring the spirit of human exploration – across continents, oceans, history and beyond the Earth itself. Each track represents a different journey, with Colin and Dave creating textured, cinematic, progressive rock soundscapes with layered musicianship and dense, evocative storytelling lyrics. Once again there is vibrant guitar and keyboard interplay, with balancing power and restraint, with both sharing guitar, bass, keyboard and vocals duties as usual. The result is a mix of classic-era prog with more contemporary nuances and even some accessible pop sensibilities.

The album opens with The Orient Express, one of four tracks written and performed by Colin, with the other tracks more collaborative efforts with Dave. Beginning with the sound of a steam train and then programmed drumming as the journey begins, the song mixes piano motifs, keyboard chords and subtle guitar lines over Colin’s light vocals, picking up the pace until the end. Dave joins Colin on the Far Eastern-tinged, The Silk Road, which has some nice, gutsy guitar playing and probing bass. The atmospheric instrumental, Himalayas, is an undoubted highlight, evoking the mountainous, high-altitude vistas well, with soaring synthesisers aplenty, and some well-judged guitar soloing later.

Camino de Santiago takes us on the ancient, Iberian pilgrimage trail, with some stately orchestrated choral effects and electric guitar contrasting with bright acoustic guitar and Colin’s faster, almost singalong-style vocals. South Pole is one of two longer epics from Colin, with a more desolate and restrained pace. The varied, flowing and atmospheric instrumentation supports the wind-swept, cold weariness of the vocals, with the repeating piano and bass guitar lines particularly effective. The Voyage of the Beagle takes us on the exploratory journeys of Charles Darwin across the southern oceans and is a refreshing contrast, full of swirling Wakeman-like keyboards, expressive guitar and Dave’s yearning, higher register vocals a foil to those of Colin later.

Mariana takes us into the dark depths of the Pacific Ocean and has a suitably slow, cinematic sweep, with background keyboard chords over restrained stabs of piano and acoustic guitar, and Dave’s dreamlike vocals. The rhythm picks up, with undulating synthesisers appearing later. Red Horizon is the second of Colin’s longer epics and is another album highlight. Starting with a suitably majestic, orchestrated fanfare, the imagined trip to Mars is a diverse track with a sprightly, repeating chorus threading through more sleepy and lush instrumentation. The tempo rises and falls throughout with more expressive keyboards and some nice electric guitar later, with Colin pushing his vocals to more varied styles as well. The album ends on a more melancholic and wistful note with The Maps Are Fading To White, as piano patterns and orchestrated strings accompany the thoughts of an older explorer pondering the many journeys and their meaning (in many ways I thought of Rutger Hauer’s Tears in Rain monologue from Bladerunner at times). This low-key ending works surprisingly well.

With four albums in a year from Riffstone, many might be concerned that quantity might be affecting quality, but whilst Great Journeys is not breaking any new ground and is definitely anchored in their previous instrumental and vocal signature style, it is a worthy addition to this talented duo’s collection of works. The concept is an engaging one, and there are sufficient points of musical interest to keep fans of their previous albums satisfied. The CD artwork is as charming as ever, with images of Colin and Dave on their various travels, and is but one of many reasons to keep this grass-roots prog cottage industry going, as long as their ideas and inspiration remain fresh.

Often, after however long a period playing live, a band will release an album which grabs the attention of a wider audience but there then seems to be a gap where no new material is released. Understandable but it risks losing momentum and followers. Teiger followed a similar trajectory with their first, eponymous album, which was full of great songs and promises of greater things to come, but despite a busy concert schedule, the new music was always just a tantalising promise; until now.

Recorded in a studio in Scandinavia, that the band described as an apocalyptic bunker, the song Bloodwork shows that they are not resting on any laurels and if this is anything to go by the rest of the album will be stunning and a contender for prog album of the year.
The song has two options, a shortened ‘radio friendly’ version and the full offering which is 6:05 long and, as we are all prog here, I will focus on the longer offering.

It is driven by a group of fine musicians who deliver something that is mean, moody and magnificent. It has its darkness with atmospheric vocal delivered by Talie Rose. When I asked her about the lyrics, and the source of them, she responded that they might be dark, but not totally. Perhaps they are a musical Pandora’s box, where there is always hope?

There are depths too, which are made even deeper by the inspired inclusion of Jo Quail on cello. It is not often that such an instrument is used on a Prog rock song, but this works so well that I wouldn’t be surprised if Jo is not asked to play on more band’s albums. I just hope that they manage to replicate the sound live on stage as well.

As songs go it is well worth a listen, or in my case many listens and it has me behaving like one of Pavlov’s dogs waiting for the full album. I am sure it will be a belter.

Moving house after thirty years and wrestling with the inevitable renovations proved far more demanding than expected, so apologies to Thessaloniki’s enigmatic quartet Zabrahana for the delay in covering their late 2025 debut EP. The band’s strapline, “embrace the enigma” is no empty comment as information about their origins, members, and history is scarce. What we do know is limited but intriguing. Formed around 2023, female‑fronted, and firmly rooted in the progressive rock/metal sphere, Zabrahana seem content to let the music speak for itself.

Adding to the mystique, the EP exists in two versions – Whales Dream In Purple (February) and Whales Sing In Purple (October). A cursory comparison suggests only subtle differences, but both present are cohesive, raw, and an energetic statement. There’s a distinct live‑in‑the‑studio feel throughout the four tracks. The band play with tightness and invention, weaving oddly metered rhythms into crunch‑heavy riffing, while atmospheric textures and understated keyboard layers add colour.

Fronting it all is their English‑singing vocalist, whose power and clarity cut through the intensity with ease. Her delivery evokes shades of Anneke van Giersbergen, Simone Simons, and perhaps Courtney Swain, not in imitative context, more comparable in strength and emotional presence.

After a brief shimmer of atmospheric tinkling, the band dive straight in with Water. The rhythm section is immediately impressive, and the Tool‑like sensibility sets the tone for the EP. More straightforward in structure, but no less forceful is Snakes. A driving rocker with depth and punch, showing the band can be direct without losing character. Emotionally charged, built on restraint and gradual expansion, Perfect is the standout track for me. Sparse keys open the track, but instead of erupting, the band hold back, letting the tension accumulate. The drums stay busy yet controlled, giving the vocalist room to shine, especially when the chorus lands with full momentum. The strongest vocal hooks on the EP. Whales echoes Perfect in its light‑and‑shade architecture, again delivering a big, memorable chorus. A fitting closer that reinforces the band’s dynamic instincts.

With Whales Sing In Purple, Zabrahana deliver an impressive and confident calling card. The EP blends raw energy with thoughtful composition, showcasing a band already comfortable with complexity, atmosphere, and emotional weight. As a debut EP it’s not the finished article, however it is assured and hints at greater things to come.