Issue 2024-054
Fughu — Stolen Pictures
Fun Fact: Hailing from Buenos Aires, Fughu are named after a Japanese fish dish that can only be prepared by highly-trained chefs. If not done correctly, it can be deadly poisonous!
Formed in the late 90s they are one of the longest-running prog-metal bands from South America. I did a special interview-feature and reviewed their first three albums for DPRP back in 2014. The interview was the first that they ever did in English and is available here.
There was a long break before their fourth album Lost Connection came out in 2020. This was more of an avant-tinged heavy-prog effort that didn't suit my tastes.
Stolen Pictures is album number five and sees the band return to a more prog-metal inspired sound. And what an enjoyable listen it is.
We begin with an album highlight. Killing Me For Fun has some wonderful interplay between the keys and guitars that reminds me of the recent album from Whom Gods Destroy. Yes, the Dream Theater and Symphony X influences are clear here, but interspersed with plenty of Psychotic Waltz variations. This is how I like my prog-metal.
What Fughu has always been about is offering listeners songs that incorporate a large amount of variety. Alive mixes melodic AOR and some 70s prog keyboards.
Fughu songs are also very dramatic and theatrical. I have no info about this release, but I am guessing that there is some sort of concept story that ties all of this drama together. Chemical Rainbows and Mr Rivers both have plenty of drama. At times certain songs may veer off in too abstract an artistic direction for those who prefer more straightforward compositions. Beware. Maybe try the tracks Fade Away and Mr Rivers before deciding if this is for you.
Built on a lovely, rolling guitar line the delicate Fade Away is another highlight. This provides a wonderful showcase for new singer Renzo Favaro.
The first three albums featured the somewhat eccentric Santiago Bürgi, who was also a trained opera singer. The last album saw Renzo Favaro enter as vocalist. He could best be described as an acquired taste. Renzo is a step-up in class. He has a lovely flow to his phrasing and a delightful touch of soul to his voice. Only on some of the higher notes does he sound uncomfortable.
The remainder of the band has been the same since their debut album: Ariel Bellizio (guitars), Alejandro Lopez (drums), Juan Manuel Lopez (bass) and keyboardist Marcelo Malmierca.
Out of Nowhere is the heaviest song, reminding me of France's Spheric Universe Experience. It offers a sharp contrast to Feel The Roof And Fall which could have been lifted from a West End musical. The Last Minute is the weakest track; a rather over-long instrumental that lacks ambition. We close with Mr Rivers; a wonderful blend of 70s and modern-day heavy-prog, plus accordion!
Overall I am very happy to have become reacquainted with Fughu. For anyone seeking a heavy-prog album that remains accessible whilst never staying in one place for long, this is well worthy of your attention.
Marco Glühmann — A Fragile Present
The motto of A Fragile Present could be "Sylvan meets RPWL", a lively crossover of two of the best-known and longest-living German progressive rock bands, a small family reunion. The result is absolutely convincing: an album that sets its own accents without denying its musical roots. The fact that the participants come from very different geographical corners of Germany and that there are almost 600 kilometers aerial line between Hamburg (Sylvan) and Freising in Bavaria (RPWL) doesn't bother them one bit. Especially as the connection has existed for a little longer: Sylvan have been releasing their albums on RPWL's own label Gentle Art of Music since 2015 (Home), and their current live album Back To Live is also being released there.
With A Fragile Present, Sylvan singer Marco Glühmann (who also plays keyboards and guitar here) ventures onto solo paths for the first time, as his band colleagues Volker Söhl and Johnny Beck did before him with the project Violent Jasper (Control, 2023). Beck (guitar) is also featured on this album, while Yogi Lang (keyboards, producer), Markus Grützner (bass) and above all Kalle Wallner, who plays most of the guitars and plays a key role not only as co-producer but also as arranger, are involved from the ranks of RPWL. Drummer Tommy Eberhardt also played drums on the first CD of Wallner's solo project Blind Ego (Mirror, 2007). To prevent things from becoming too familiar or even incestuous, Marillion guitarist Steve Rothery provides a solo in the beautiful closing number My Eyes Are Wide Open and the choir vocals of Billy Sherwood (Yes) on Hear Your Voice provide successful impulses from outside.
The best is often saved for last, so let's make it clear right away: anyone who is curious about Rothery's contribution should definitely listen to My Eyes Are Wide Open, which was released in advance as a single and video, first, even if it only comes at the very end of the album. The solo is at Rothery's usual high level, but the rest can also keep up: the melodies are wonderful, the singer's voice soars to great heights once again and the instruments of his fellow musicians also fit in perfectly. A great song with many facets and an absolutely successful conclusion to this album, which is worth listening to from start to finish. On the one hand, it is a wonderful vehicle for Marco Glühmann's distinctive voice, which sounds versatile and confident as usual, with lots of energy and passion, but also explores completely new spheres. Respect that Glühmann is not playing it safe here, but that he is daring, which is exactly what solo projects like this one should be used for.
A Fragile Present is not a concept album, but it does follow a common thread in terms of content. "What are the most precious moments in your life? What is the purpose of your heart beating? What would you miss most painfully if it were no longer there?," Marco Glühmann asked himself, and he realized that there are no easy answers. "Sometimes it's just a question of perspective that opens our eyes," he says and: "The most wonderful moments usually lie in the little things, the things we take for granted, the fragile present that life lends us for a blink of an eye." You just have to recognize it, appreciate its value and treat it appropriately. Fittingly, Glühmann sings in the opening number Hear Our Voice: "Show me the way to find out how the stars can shine so bright" and, congenially supported by Sherwood, who once again reminds vocally of his late Yes colleague Chris Squire, urges us to: "Hear our voice and listen to what is said." An anthemic, appropriately dramatic opening that is crowned by a great guitar solo at the end. Because the Yes comparison has already been mentioned: Hear Our Voice would probably fit best with the songs of the Squire / Sherwood project Conspiracy.
As a band, Sylvan have not only produced flawless progressive rock with epic and complex long tracks in their long career. Presets (2007) was deliberately recorded and released as a counterweight to the grandiose concept album Posthumous Silence (2006). It contains more light-footed, simpler songs, but they are not boring or even banal. The flirtation with catchier melodies, pop and rock also works and produces songs at a comparatively high level, which complement the rest of the band's work well.
That is a formula that Marco Glühmann, freed from the shackles of the band corset, is happy to fall back on and expand on A Fragile Present: Never Say Goodbye builds up slowly and with relish into a solemn, pompous rock song. Reach out, with its gentle acoustic guitar and orchestral sprinklings, seems like its quiet counterpart. Of course, there are also guitar solos to melt away to. Changes of tempo and style that continue: Faceless rocks with plenty of pathos. Look At Me serves the more emotional side with piano and strings, while Glühmann's voice, which was so powerful a moment ago, shows its softer, almost fragile side. Great emotions also resonate in At Home, while For a While takes a blunt turn into the pop corner. And the powerful Black The Shade Out would also look good on any Sylvan album, here Marco Glühmann is close to his regular band. The full range and variety can also be heard in the other songs: from the orchestrated One Last Hope to the balladic Life Is Much Too Short (of course with another great guitar solo) to the first hymnic, then rocking Running Out Of Time – a good mix with a lot of variety, without the album taking on an arbitrary character.
If you draw another direct comparison with Sylvan, the songs here get to the point faster, do without overly extravagant instrumental passages and are still by no means too simple – especially as the guitar in particular, whether from Wallner, Rothery or Beck, repeatedly sets highlights. A Fragile Present is more rock and pop and less prog, but still good, very good music. Marco Glühmann is to be congratulated on this successful solo debut – as much as the listener is slowly longing for the next Sylvan studio album after the 2021 output One To Zero, the singer should therefore not give up on further solo efforts.
For vinyl buyers, it should be mentioned that the LP unfortunately has to make do without the songs Faceless and Life Is Much Too Short. With a playing time of just over 56 minutes on the CD version, there was probably a lack of courage for a (more expensive) double album on vinyl.
Living In Shadows — Neon Burning
Living In Shadows are from Gateshead in the North-East of England. Zoe Gilby (vocals) and Andy Champion (guitar, bass, keyboards, drums, programming) usually work in the field of jazz. They have been known to cover the odd prog song such as Pink Floyd's Money. Though the scat singing on that track is mercifully not present on this album.
Their Living In Shadows project is a different beast altogether, bringing a fusion meld to a mix of progressive rock, alternative rock and alt-pop. Their second album under this name Neon Burning sees them slimmed down to the current duo with contributions from previous members on certain tracks.
The music here is an often a passionately complex mix that produces a fusion dusted alternative melodic prog. Over which shines the vocal melodies and superb singing of Zoe Gilby who brings her jazz skills to sing around and through Andy Champion's bass-led melodies. Her lyrics, and what the songs mean to her, can be found on their Bandcamp page for the Neon Burning release.
Every track has a detailed mix of instrumentation that gives each their own identity while the melodies give the album its overall and cohesive feel. Take the longest track, for example, Page By Page starts with piano adding shimmering guitar then a complex rhythmic groove storms in from the drums and bass before Mark Williams (from the line-up of their debut album) adds a guitar solo, then synth arrives too. Everything a prog lover could want.
Living In Shadows' Neon Burning, though it is informed by the duo's jazz background, jazz is kept very much in the, ahem, shadows. There is an original take on jazz fusion here, one that veers away from being overtly funk based and instead embraces a very pleasing prog rocking aspect. If your looking for something innovative in the cross-over prog area then start here.
Ritual — The Story Of Mr. Bogd Part 1
With just five studio album released in 32 years, Ritual can't be accused of over exposing themselves. As I mentioned in my review of the taster CD Glimpses From The Story Of Mr. Bogd, it is 13 years since the band's last release. Despite no new recordings in that time, and no live appearances in the past 10 years, the band never split and remain with the same line-up they have had since their formation back in 1992, namely Jon Gamble (keyboards, backing vocals), Fredrik Lindqvist (bass, Irish bouzouki, hammered dulcimer, recorders, whistles, backing vocals), Patrik Lundström (vocals, guitar, occasional tourist bouzouki) and Johan Nordgren (drums, percussion, nyckelharpa, backing vocals). The album is the first part of a concept based on an original story written by Fredrik Lindqvist, the band's main lyricist. Always more than a straightforward progressive rock band, from their inception, Ritual's music has always been song-based and melodic with a variety of styles, particularly folk music, being incorporated.
On re-reading my review of Glimpses From The Story Of Mr. Bogd, I stand guilty of being rather dismissive of a couple of tracks on that taster, although in my defence I did suggest that reviewing the songs out of context of a complete album it was difficult to get an accurate impression of how they fitted into the proceedings. I am happy to say that hearing these pieces do make a lot more sense in their correct surroundings. I was correct though in stating that "the new material will cover a wide base of musical styles". The opening to A Hasty Departure acts as an overture and features none of the band! Instead, we have Mark Evitts on violin and viola alongside cellist Emily Nelson Rodgers. The brief classical intro leads into a heavier riff-based opening song that is both energetic and driving with a great mixture of different instruments, and further violin parts by Lovisa Hallstedt. A delightful gentle middle section with acoustic guitar, nyckelharpa (a keyed fiddle) and recorder and some choice keyboard sounds provides space where Lundström's fine vocals can be fully appreciated.
Surprisingly, the text of the story printed in the booklet are also actually the lyrics. It is an impressive feat to have managed to have incorporated the entirety of the text into song form without compromising either. The strength of the opening number is maintained on The Inn Of The Haunted Owl which flows on seamlessly, a familiar trait in concept recordings. Dreams In A Brougham is an acoustic instrumental infused with a folkish twist that does possess a very dreamlike atmosphere (a Brougham is a light four-wheeled horse-drawn carriage that was developed in the late 1830s and named after the English politician Lord Brougham).
Chichikov Bogd, lyrically, takes a look into the back-story of the album's main character while musically is a tour de force with the layered backing vocals adding a dynamism to proceedings. Mr. Tilly And His Gang provides a distraction from the main narrative and the introduction of these characters seems somewhat arbitrary, hopefully things will become clearer with the release of the second part of the concept. However, this track and the following instrumental, Through A Rural Landscape do seem rather anomalous, and although they cannot be classified as "filler" they do seem to take the listener away from the main narrative.
Thankfully things get back on track with The Feline Companion. There are a fine collection of odd characters within the story: Mr. Bogd and his Brougham driver Pankhurst, a shape-shifting talking owl, Mr. Tilly's crew including The Fishbeards and The Skirt Men and now an old and withered lady with her life-saving cat. Read All About It! is my favourite on the album with its complex vocal arrangement and quirky tempo changes there are obvious hints towards the style of Gentle Giant. But it is not mere pastiche (as with Thoughts by Spock's Beard) but an original take on music that has inspired the band. The massed chorus is wonderful and must have taken hours of overdubbing.
After the fevered and frantic onslaught of the newspaper headlines detailing the disappearance of Mr. Bogd, there is time for a more peaceful reflection on Forgotten Qualities. Similar in style to the middle section of A Hasty Departure, the inclusion of this lengthier acoustic number is a triumph and once again Lundström's vocals are a delight. The Three Heads Of The Well makes a lot more sense when incorporated into the story and the different style of the music is directed by the narrative. In this context the lyrics and musical approach of the piece results in somewhat of a cliffhanger and I eagerly await part 2 and the conclusion of the story. Let's hope we don't have to wait too long.
Shades Of Plato — Blackout
Gothic rockers Shades Of Plato are back with their third album, and after we reviewed their previous album Malware two years ago, it was logical to present this new album to DPRP as well. The press blurb for the previous album included "unique", this one is accompanied by the words "dark masterpiece". How interesting is it for prog fans?
If you remember the music from the 1980s new-wave movement, you'll recognise quite a bit here. And if you've lived those years in that movement, you'll definitely feel things coming back. In terms of dark atmosphere and arrangements and several recognisable sounds, but that is only part of the story. Shades Of Plato wouldn't be more than looking back if they had not grabbed things from other places to bring something new. The word "fresh" would be dirty word in this kind of music, I think, but I guess you know what I mean. It's a bit heavier and darker, it's got flute, and it is more progressive.
There are elements of Gary Numan old and new, and more of The Stranglers or Sisters Of Mercy. And although those references might sound as old as punk itself, the combination does sound like how it could have made new-wave more interesting. (Not that I didn't like it, but a lot of it was kind of bleak, which I do realise was part of the point.) When the flute and guitar drive the riffs, it really gets into Hawkwind hypnotic territories, which was unexpected and turned out to be the parts that I seem to like the most here. Some of the arrangements give a little Jethro Tull feel. (And no, not just because there is flute playing.) Punk-ish in energy, the breaks and changes reveal a modern progressive approach that brings confusion when getting an idea of when this record was made.
Often more gothic rock than new-wave, and then a melodic and fast guitar solo that comes from somewhere completely different. The album has a lot of those lovely surprises and is hard to put under a single label, which is making it quite intriguing. Listen to When My Ship Came In, the song that probably has all the aforementioned influences and styles in a single track.
Blackout clearly recalls The Cure or at least brings memories of them, and I doubt SOP would mind me saying so. Aletheia has a middle section that is a reference to Art And Illusion era Twelfth Night. Slower sections, or all of Cielo, remind me a bit of Devil Doll — also food for people who love their art dark.
Their blend also reminds me of Swedish Withcraft and I think these people would get along with a band like Gaupa or Orkan (also both Swedish, by the way). Maybe unintentional, but it is a touch of blues rock that shifts a couple of songs that way, and to me that just sounds sweet. (Can I say sweet?).
Dark, certainly, but with a hopeful openness giving a beautiful melancholy. And that's just something I really enjoy. When I started listening to this album and write notes for this review I was confused and struggling to find references and what to tell you. When it was nearly finished, I had become acquainted with the music and with the pressure of writing about it falling off my shoulders, I realise how it has grown on me.
Sol Sol — Almost All Things Considered
Call it a learning process, general music interest or reviewing/reviewer awareness. Sometimes I like to push the envelope and listen to music I have little to nothing in common with. Almost All Things Considered by Sol Sol, a band consisting out of "four of the most wanted names from the Swedish jazz/improv/indie pop scene" who in a "more is more" (more free jazz, more distorted guitars, more baritone sax) approach express themselves primarily with Nordic free jazz, is such a listening example.
Right from the start with Elena Sol Sol start to push my boundaries with elegance of jazz followed by complex song structures, odd time signatures, improvisations and virtuous performances. Elements that definitely belong to the world of progressive rock. Yet for someone primarily enjoying his music to be melody based this psychedelically confusing avant-garde styled experimentation proves to be a fairly progressive stretch.
Returning to subdued calming lounge jazz normality embraced by sensual seductions from melodic sax in If Not, Marbles, which is followed by First Days Of Spring which is gently reminding of early Solution. The foursome of Elin Forkelid (saxophones), David Stackenäs (guitar), Anna Lund (drums) and Mauritz Agnas (double bass) then go on to present a second semi-indigestible track in form of Almost All Things Considered. A ponderous and monotonously slow-moving anomaly which, with a circus act in mind, ultimately derails into a mayhem of dissonant cacophony before it ponderously retreats.
Sol Sol continue to serve up a sophisticated, smooth, playful jazz course, mildly reminding of Miles Davis, via Can I Have The Bill, Please?. To conclude their jazz buffet, Hello Again, Paul with a groovy dessert of swinging melodies topped off by a slice of palate-numbing atonal guitar entanglement. From afar, this provokes thoughts of King Crimson. Going back for necessary afters to fathom it all, I do question the progressive rock values of what is on offer here.
All of the above makes Sol Sol's third album most certainly worth checking out for the avant-garde free-minded jazz enthusiast and those whose appetite includes such bands as Out Ink and Zolder Ellipsis. An intriguing lesson learned, I on the other hand have to conclude that Almost All Things Considered is fairly out of my comfort zone and a touch to heavy for my stomach. Check, please!