Issue 2025-007
Blacksmith Tales — The Pathway To Hamlet's Mill
Well I'll be damned! As if 2024 wasn't filled with some excellent albums from a slew of well known and lesser known bands and artists, along comes this monster album that hit me like a thunderbolt. Imagine finding Ayreon had composed a smorgasbord of songs that were written especially for bands such as Iona, Magenta or Karnataka only they were sung by the likes of Bart Schwertmann (Kayak) and accompanied by a talented crew of female vocalists whose names might not be familiar to you. We're talking about a pair of Italian vocalists who can emulate the inspiring sounds of other, older stalwarts of the industry, such as Annie Haslam (Renaissance), Sonja Kristina (Curved Air), Rachel Jones and Hayley Griffiths (Karnataka).
I must confess this band is totally new to me, and yet I am finding I need to preach to the masses and extol exactly how incredible I am finding their music. The band comprises Stefano Sbrignadello (vocals), Simone Morettin (drums), Beatrice Demori (vocals), Marco Falanga (guitars, bass), Luca Zanon (keyboards, synth)and David Del Fabro (piano, backing vocals). It seems that 3 original members of the band who contributed to the debut are no longer credited on this release so perhaps other commitments or personal aspirations have been involved to cause such a sudden change from their debut.
The band's debut album, The Dark Presence, flew under the prog radar and was not widely promoted by the various media channels. I put that down to the simple fact that with soooo many new bands appearing on the scene, it is nigh on impossible to break through the glass ceiling unless massive exposure is afforded to the band and their various efforts. A band could easily create a magnificent album full of original material, yet if the numbers don't line up correctly, the majority of any potential audience will simply never get to hear about it. This is exactly what I fear will happen to a lot of newer progressive rock bands unless we reviewers help to spread the word. So listen up!
Hamlet's Mill Overture is a barnstorming opener and forces the listener to prick up their ears after only a few bars of music have been played. Blistering synth, galloping drums and snarling guitars serve as the ideal vehicle to introduce a very compelling series of riffs that let you know the band means business. Shortly after, a slower keyboard interlude captivates with an infectious melody before resuming the original riffage. Vocals chime in almost halfway through the song and remind me of Floor Jansen (Nightwish) sans the operatic inflections.
Key To The Temple is adorned with some creative riffs, only to succumb to a very melodic keyboard interlude only to then be pummelled into submission with some seriously atomic fills courtesy of our stick-meister. My ears are really taking notice of what is unfolding now. The girls trade places vocally with David whereupon we are treated to a tasty section with violins, (possibly sampled) and keyboards which allows this highly melodic piece to continue at a very high level.
C'e casa a 30 miglia is a more introspective piece and features some pleasant vocals underpinned by a comforting melody and background accompaniment, During the passage of these first 3 songs we are treated to some very engaging keyboards, whether piano, organ or synth yet their inclusion really helps to allow the album to maintain its dynamic allure. Harpsichord introduces the next track but quickly segues into something that German band Solar Project may have created during the early 2000s. The vocals on this outing however, are miles better than the sun lover's effort. This track also crosses over into something akin to a mild screamo session with angrier vocals and more punch but ultimately lost me a little bit.
The 5th track, Interlude - A Guide Through The Path, is a short but very emotive piece featuring some delightful piano courtesy of David. Descent Of Gods picks up the pace a little again and keeps the accelerator fully depressed. This is where you can hear the Arjen Anthony Lucassen style of dramatic rock opera arrangements that enable his own albums to sound so full and engaging. The overall riffs, arrangements and singing almost match those efforts by the Dutch maestro but don't quite get there.
The Pendulum however, breaks the mold a little and incorporates a bit of that magic anthemic singing that we often hanker to discover and becomes yet another song that successfully contributes to the album's overall appeal. Dance Of The Stars is another rip-roaring track that gives you a little bit of Steeleye Span's All Around My Hat infused with something you might enjoy from Blackmore's Night. Catchy violin accompaniment really adds some muscle to this very lively song and is the perfect finale to close out a great innings.
This is a great album by any measure and certainly had my full attention after the first minute or so. It features some very engaging songs that for the most part have a very dynamic and adventurous edge and are embellished perfectly by some lush piano, harmonic vocals that really deliver, bombastic keyboards and propulsive drumming that an old stick twirler like me really admires. Seriously impressed Simone!
I really can't fault anything on this album and while it doesn't quite attain masterpiece status, it would be a seriously worthy addition to any prog lovers collection.
Obsidian Mantra — As We All Will
“Groove centric, technical riffs with hazy black metal motifs” is how Obsidian Mantra from Poland is described. Staying true to the spirit of old death metal, but not trying to be no more than a tribute, the group have been around just over 10 years and released 3 albums (this one being the latest). Poland has a superb history of extreme metal, being the birthplace of bands such as Vader and Batushka, so I have high hopes for this.
Right off the starting line, What is Not, Is Not delivers a rumbling chorus of drums and blackened guitar work. Guttural vocals cut through alongside fierce riffs and frantic drumming. Cult Of Depression sticks with this aggressive nature but throws in some more groove elements.
The album consists of wave after wave of discordant and oppressive fretwork, creating a sense of uneasy terror. For a 3 piece, they create a sound that is more present than many other bands of this genre and are very much a sonic beating that is more than the individual parts. The writing is exquisite, the riffs uncountable, and the foundations laid down by the bass and drums are as thick and full as any other contender in the genre.
This album is blackened death metal as it should be. It is hard, fast and relentless while maintaining an air of technicality and complexity. Despite only being 30 minutes long, it packs a punch that is not easily forgotten.
If you like Behemoth, Vader, Decapitated or Rotting Christ then these guys are going to be a favourite.
Bob Wegner — Max Webster High Class - The Definitive History
Who is this Max Webster?
I don't recall the exact moment when I asked that same question. But I do remember it like yesterday when back in 1981 for the first time saw those words "Max Webster R.I.P.", printed on Exit...Stage Left by Rush.
With Xanadu still in the process of being recorded onto my "newly discovered tape", I received the answer from my broadly smiling musical mentor in form of two magical album treasures that he retrieved from his seemingly never-ending collection of musical gems. The first one being High Class In Borrowed Shoes which instantly peaked my curiosity thanks to the flamboyant dress sense of the musicians depicted on the front cover, and their unrivalled and sublime Live Magnetic Air album followed. This lured me in thanks to songs like Gravity and In Context Of The Moon, while its artistic hypnotising letters invitingly vibrated towards me.
Neither of these tracks ever made it onto my tape though. Because the next album handed down to me was Universal Juveniles, including the phenomenal Rush/Max Webster collaboration Battlescar. A monumental composition that desperately needed to entrusted to my cassette. Along with the brilliant Beyond The Moon, and the short and ever so delightfully radiant Summer's Up proved to be of excellent concise length to fill my precious tape to the max. To make a long story short: since that day I've been a fan of the Max machine.
Several years later, it is author, music historian, multi-instrumentalist, and radio show host Bob Wegner who also gets bitten by the same bug. Seriously bitten actually, for he single-handedly sets up the Max Webster archive in 2002. A devoted website that tells everything there is known or either to be learned about the band in form of set-lists, concert dates, YouTube links, photographs, memorabilia pictures, and other miscellaneous stuff and articles that concern the band.
Consistently growing in content, the site has now been updated and re-vamped. Wegner then in 2016 sets out to capture it all in book form. And following a dedicated seven-year itch of extensive research, facts and memory checking, collecting more information and photographs, this ultimately led to the limited encyclopedic Max Webster High Class bible. A massive 396 glossy paged, vinyl sized coffee table book that explodes with a gargantuan amount of never before seen photographs, memorabilia scans (a.o. ticket stubs, posters, badges, old cassettes, audio-reels) and an ingeniously reconstructed timeline that truly encompasses all things Max Webster.
In his meticulous archaeological drive and desire to offer MW's full complete history, Wegner interviews former band members, corresponded with mutual fans, sound engineers, DJ and radio-show hosts, and got in contact with a many other people that were once engaged or otherwise affected by the Max bug. He simultaneously found, retrieved or was provided with additional newspaper clippings, magazines and many other articles. And after careful analysis, dissection and re-gluing of a giant pile of facts and details, he was finally able to present this phenomenally beautiful book that perfectly covers all bases of Max Webster's historic timeline.
The resulting home-run is a mighty impressive timeline-precise book of revelations that brilliantly captures and effortlessly makes one identify with the impenetrable lyrical aspects and musical magic of one of the greatest bands ever to walk the earth - Max Webster. This latter statement being a Wegner opinion that I, among many other fans and the occasionally quoted/footnoted musical journalist Martin Popoff, wholeheartedly agree upon.
Well-written and divided into clear and easy to follow yearly chapters, it is after the You are an original creation chapter, which investigates the musical aspirations of upcoming MW members as far back as 1965, Wegner takes a deep dive into Max Webster's true story. By then, many names have come and gone, some of who return later on (Greg Chadd of Saga, Mike Gingrich of Nightwinds). Until finally the band settles in the semi-stable formation of Kim Mitchell (guitar, vocals), Paul Kersey (drums), Mike Tilka (bass) and Jim Bruton (keys). Also included in the line-up as their "fifth member" is lyricist Pye Dubois, who in 1980 would go on to work with Rush on their iconic Tom Sawyer.
Revealing the truth behind the curious name of Max Webster (which, for those interested, involves future Genesis hire Daryl Steurmer), it is in these early chapters brimming with anecdotes that the entertaining treasure trove value of Wegner's magnum opus already fully exposes itself. Did you for instance know that the band were handed street signs to autograph after gigs? And that this was the reason why the signs for Max Webster Rd in Brantford were positioned a few feet higher on street poles? Neither did I.
And there's lots more on offer in the well told and expertly researched (at beach resorts?) chapters that follow. With each chapter divided down into individual days, it is through this approach that Wegner truly gets to shine with accurately precise event recollections, completed in view by corresponding photographs and plenty of associated pictures, a massive amount of quotes, memories, the odd set-list, raving reviews, honestly given criticism and praise, and passionate declarations towards the musical progress of the band.
All together, this creates a crystal clear and thoroughly insightful diary image of what actually happened during those years of yore. As well as that it brings an even deeper affection and clear understanding towards Max Webster's influences and outstanding music that they from 1974 on would record with Terry Watkinson as permanent replacement for Bruton (apart from their final 1980 album Universal Juveniles, Battlescar excepted).
I learned quite a bit as I made my way through Wegner's speed-read enthusing pages. Although late to the party, I was obviously aware of the special bond that Max Webster had with Rush in light of producer Terry Brown, their shared presence on the Canadian Anthem record label, and the countless gigs together. And with a little internet exploring I would indeed be reminded of Billy Sheehan's Mutiny Up My Sleeve's preproduction stint until finally Dave Myles stepped up to the plate to take over for Tilka on bass.
The knowledge however that Kersey was asked to join Rush before they decided to take Neil Peart on board was news to me. As were the facts that Watkinson in a period close to A Farewell To Kings showed Geddy Lee the robes on synths, and that Peart's backstage warm up procedure used to exist out of him playing along to newcomer Gary McCracken's drum parts while Max Webster performed their gigs. Not to mention the fact that the audience response used for The Spirit Of Radio originates from a leftover 1979 live recording done for Max Webster's Live Magnetic Air.
The most exquisite asset of the biblical book is however the extensive knowledge that Wegner shares on how the band gradually shifted from a covers band (playing a.o. Frank Zappa and Jethro Tull tracks) towards a regular appearing bar band, and then would quickly become one of Canada's most cherished bands that exclusively played selections from their own expanding repertoire of 40 to 50 songs even before their first album from 1976 enraptured the senses of their ever-growing and impressed audiences.
Thanks to the gifted songsmithery talent of the Mitchell/Dubois unity, the amazing individual musicianship, and their onstage humour, Max Webster would even get a small taste at (international) fame and fortune with the successful A Million Vacations that includes the Paradise Skies and Let Go The Line singles. The latter even making it into the lower regions of Dutch charts. This level of band success unfortunately also started to take its internal toll on members of the band and would soon see them confronted with the departure of Watkinson shortly after the Live Magnetic Air album — my favourite go-to Alka Seltzer album whenever I'm suffering from a mental hangover or feel otherwise distressed.
Returning with the spectacular Universal Juveniles, recorded together with Doug Riley and Symphonic Slam's David Stone, and brought to the stage with a coming and going of (returning) musicians, it is especially in this period of time that Wegner's archaeological reconstruction pays dividends and offers up a wonderful insight to Max Webster's final days. The end finally announced officially in a Toronto newspaper on the 23rd of April 1981, which in hindsight has to be the worst birthday gift I ever received.
A few years down the line Max Webster would eventually regroup in 1990 for a one-off reunion appearance at the Toronto Music Awards, followed by a short 1995/1996 tour that featured a line-up of Mitchell, Watkinson, McCracken and bass player Peter Fredette from Mitchell's solo band. As expected ,all meticulously accounted for over the years by Wegner with plenty of details and outside projects (a.o. Klaatu, Wrabit) mentioned.
On the memorable 24th of May 2007 the band then finally bow out with a one time performance in celebration of radio stations Q107's 30th anniversary. An event aired simultaneously on radio and apparently filmed officially as well. With little footage available of the band here's wishfully hoping that one day this will finally see a proper release. Even Oasis have returned, so nothing is truly impossible right?
Well almost nothing, because if you're a Max Webster fan then this magnificent achievement by Wegner is sheer impossible to resist and absolutely worth its admission price. The tons of information, breathtaking photographs and the completing rundown of discography releases (including 1981's Diamonds, Diamonds and the 2017 The Party box set) embedded within this book makes it carry the whopping weight of a possible hernia-inflicting 2.77 kilograms. In other words: if you're a die-hard fan who has grown tired of always watching Bruce Willis save the day, then High Class - The Definitive History is well and truly the urgently needed Christmas gift replacement.
But what do you do with the urge when a book is actually sold out? Well, simply click this link and order your copy of the second run today! Expanded with new stories, updated gig information, and a boatload of new pictures that now also includes files from Mitchell's personal archives, this is surely something to look out for if you're a Max Webster devotee.
Some friends with the book...
I'll round of my biased essay by stating that in the world of giants, Max Webster's footsteps may ultimately have ended up small. But they were a prime example of true progressiveness. No album sounds the same. And their music and flamboyant stage appearance sure left behind a large impact on the (Canadian) music scene. Wegner's entertaining testimony truly captures the essence of it all, and therefore fully warrants a highly recommended check.
At the same time I realise that its purchase price may prove to be something of a stumbling block for some. So I do hope Wegner's growing network of contacts will one day include SonicBond, as I would sure like him to astonish me some more with an alternative presentation about Canada Rock of Fame inductees Max Webster in the well known On Track... format. The band's legacy and their exciting history fully deserves it. No real hurry needed though, for at the moment I'm very much over the moon with this stunning book. Sorry, obviously I meant to say Beyond The Moon!