Issue 2025-026
Ricky Capone — La Scala Suite
Two years after his much enjoyable debut of Cardiff Gate, multi-instrumentalist Eric Davies (aka Ricky Capone) returns to the scene with La Scala Suite. His third effort that comprises five instrumental compositions themed upon "Scala", the Italian word for ladder, which is also the derivation of 'scale' (as in scales and modes).
Having just reread my review for Cardiff Gate I'm experiencing some difficulty in avoiding duplication of my words. Because in line with that album, Capone has again crafted five solid compositions that each showcase conciseness, well cared-for structural designs, depth of sound, and intricate arrangements highlighted by a delightful variety of excellent guitar techniques. Even the elegant dash of rock is presented. Although in reality the terms "dash" and "rock" are slightly exaggerating because the mellow paced compositions generally pass by in a very relaxed and comfortable melodic way.
Rope Ladder is a fine laid back example of this. Opening mildly psychedelic with fine folky flute flourishes this song begins with gently rippling bluesy guitar in style of mid seventies Wishbone Ash and features a melodic midway acceleration that adds engaging fuel to the song. Contrary to Ash's F.U.B.B. which this nicely construed song in vibe reminds me of, melodies thereafter then return to its original theme before they actually reach full steam.
Alternate album cover
The subsequent Spiral Staircase shows that Capone sure knows something about the fine art of song composing. Easy-going and sensitively approachable in such a way that after a mere two spins one can generally hum along to the melodies, this song pleases with lovely slow paced movements and a delightful synthesized bridge which in combination with caressing bass lines and tuneful piano parts snugly entertains. A satisfying outcome also achieved with Fire Escape thanks to uptempo dynamics and spirited six-string control.
With Indian Rope Trick adding subtlety in performance as driving percussion and diversified guitar parts securely guides melodies into a mirage of vividly tribal atmospheres that resonates with memories of The Beatles' Norwegian Wood, it is finally Escalator that highlights the delightful fusion aspect in Capone's music. Starting of timidly jazzy with carefully constructed arrangements and a tender showcase of Capone's versatile guitar technique on top of atmospheric keys, this song successively builds beautiful momentum with a delicate fusion of sax and R&B organ. It ultimately reaches a state of atmospheric bliss when melodies finally halt.
At moments like these, Capone's 70s resonating music really captures the imagination and soothingly satisfies in a Wishbone Ash meets Long Tall J kind of fashion. The genuine prog values of all the above described compositions I have to admit are relatively marginal. But overall La Scala Suite is a fine effort worth checking out for guitar enthused listeners who like to relax to well composed and skilfully performed melodic (rock) songs.
Gayle Ellett & The Electromags — The Painted River of Light
The third album by Djam Karet's guitarist and keyboard player Gayle Ellett and his group The Electromags, which, as ever, consists of Mark Cook (bass, 14-string Warr guitar & soundscapes) and Craig Kahn (drums) with Ellett himself providing an impressive array of other instrumentation (Mellotron, Minimoog, Hammond organ, Fender Rhodes electric piano, Solina (ARP) String Ensemble, 6 and 12-string guitars, sitar guitar, bouzouki, soundscapes & effects). Whereas the group's previous two albums, 2022's Shiny Side Up and 2023's Friends contained collections of pieces that were, for the most part, of five minutes or less duration, the new release has just four extended composition that all break the 10-minute barrier. And it is also back to the trio playing everything, eschewing the plethora of guests that appeared on Friends which was the primary raison d'etre of that release.
Each piece on the album explores the sounds classic prog keyboards, Mellotron, Minimoog, Hammond organ and Rhodes electric piano. Although that is not to say that the keyboards completely dominate each piece as Gayle also weighs in with his characteristic guitar playing that fully utilises his large collection of guitars and vintage tube amps, tape-delays, and effects mixing the Electromags classic 1970's West Coast rock feel with more modern sensibilities. Cook's Warr guitar contributes to the soundscapes captured by Ellett to provide a powerful mixture of sounds and effects that fully flesh out each piece.
Although a particular keyboard type can be heard to be more prominent on some tracks, there is liberal use of the different keyboards across each track. So, for instance, The Illuminating Sands Of Time and Deep Waters Glow Brightly both have important Mellotron contributions and, somewhat self-explanatory, The Rhodes To Discovery features the electric piano, they are not restricted to just these keyboards, the latter track having great smatterings of Hammond organ, and the Minimoog is evident throughout. The characteristic sounds of these instruments provide a solid basis to each piece, but the detail is enhanced by the use of such instruments as sitar-guitar and eight-string bouzouki. Although the album was written and recorded to have the effect taking listeners on an "imaginary boat ride through a fantastical canyon that follows an otherworldly river of light" this is not always a gentle cruise down placid waters as eddies and rapids are encountered along the way sonically interpreted by "psychedelic swirling melodies and pounding solos".
This can easily be heard on Deep Waters Glow Brightly which moves through a whole gamut of styles and tempos in a breathtaking white water ride. Each of the four tracks has a different feel to it but fit together seamlessly making the whole album a voyage of discovery. The playing throughout is exemplary and although it is easy to highlight the performances of Ellett and Cook, the contributions of Kahn cannot be ignored particularly on the final track where his charmingly inventive fills and percussive effects are a highlight of the piece.
With this third album, the Electromags have cemented their reputation as being creators of fantastic modern instrumental music that draws from the past yet refuses to be restricted to sounding dated or of the past. This is modern music drawing on a wealth of musical experience and knowledge. A really fantastic trip.
Just one question, is that Fernando Perdomo providing the spoken news report on Frequency Modulation? If so it must be the only recording he appears on where he doesn't play an instrument!
Kwoon — Odyssey
Kwoon is a project led by Sandy Lavallart from France. I had never heard of this band before but they already released two albums before: Tales & Dreams in 2006 and When The Flowers Were Singing in 2009. For some reason we had to wait sixteen years for this new album Odyssey. The musicians present on the first two albums are not performing with Kwoon anymore. The core of Kwoon is a four piece band, Sandy Lavallart (vocals, guitars), Nicolas Foucaud (guitars), Katia Jacob (bass, keyboards, backing vocals) and Gregoire Galichet (drums), and for this new album Sandy found a lot of guest musicians to play on Odyssey. The contribution of the guest musicians ranges from additional backing vocals or guitar, a lot of violin, cello and viola musicians and even a musical saw is mentioned.
The music style is atmospheric ambient music and with so many string instruments some parts sound like a movie score. Check out the video of King Of Sea and you know what I mean. King Of Sea features two members of Dionysos, Stéphan Bertholiot on the musical saw and Élisabeth Maistre (aka Babet) on vocals. Very nice bombastic song and together with the video a real piece of art. The music reminds me of Anathema and Phideaux — very ambient and mellow. You have to be in the mood for that. The best way is curtains closed, dim the lights, preferably a nice glass of wine and then this album will lure you in. I had the same listening experience with Night from Gazpacho, also a band that comes to mind.
I tend to approach this album as one big piece of music, one journey. The album starts a bit strange with Leviathan so beware not to judge this album by the first couple of minutes. I think not the best choice to start an album in a way that is so different from the rest of the album. There are a couple of times when Odyssey becomes a bit heavier, but overall it is a gentle musical journey. At times it can become even really slow and only some piano notes are played very gently. Even the parts with this minimalistic music still grab your attention.
With Odyssey, Kwoon have released an intriguing album.
Legacy Pilots — Night Flight
After five albums, the studio project of Legacy Pilots were suddenly offered the opportunity to perform on stage in support of Steven Rothery. With Flight Commander Frank Us (keys, vocals) boldly seizing the moment, Night Flight is the full registration of the resulting performance that took place at The Docks, Hamburg on the 11th of October 2024.
Given the various touring and recording obligations of the international musicians usually associated with Legacy Pilots, let alone time required for rehearsals, the first test was for Us to find the right musicians to perform that night. A test most successfully passed for the well-oiled supporting machinery of Kai Weidle (drums), Daniel Otte (bass), John Enghausen (guitar) and Finally George (vocals) soar with aerodynamic dexterity and dedicated enthusiasm through the seven compositions chosen for Legacy Pilots' maiden stage flight. Eight, if one also counts the truthful interpretation of The Even Chance, recorded in rehearsal, and added as a bonus.
The show was captured in crystalline warmth and is offering a well-balanced and mostly prog-pop-oriented overview of every Legacy Pilot effort so far, except debut of Conbrio, which by coincidence is also the one missing in DPRP's databases.
Better Days that energetically sets up the set. Tightly performed with dynamic driving focus in instrumentation this song no longer only reminds me of It Bites this time around, but also brings images of Saga into view thanks to the melodic vocal style of George. The latter's resemblance is also slightly scratching the surface in the contagiously catchy melodic delights of True Spirit which effortlessly keeps the outstanding harmonious flow of the set going.
George's strong voice in combination with Otte's grounding bass and the exquisite guitar flights from Enghausen now also generously rewards Nemesis with auxiliary impressions of The Fixx. This outstanding live interpretation almost surpasses its already highly pleasurable studio experience. Something that in a variety of ways also applies to the solid set consolidators of Ghost Of The Ocean and The Matter that both rival their studio counterparts in view of execution and arrangements.
The one song where the one-off Legacy Pilots formation really reach for the skies is the stunning Don't Chase The Rainbows. Sung with comforting melancholic warmth by Us, this colourful progressive treasure attracts with gracefully gliding melodies and sensitive emotional performances. Midway through, it transcends into a monumental thing of exceptional beauty when Enghauser begins to decorate the mesmerising melodies with a heavenly solo that's met by goosebumps (mine) and a fully deserved standing ovation from the crowd.
Judging by the enthusiastic reactions from the audience, as well as the show's visual capture that in a nice alternation of close-ups and overview angles witnesses a well-rehearsed band in full swing perform the songs, I imagine the merchandise booth was pretty busy after Legacy Pilots wrapped up their first ever live performance on a high with the delightful masterclass of Wide Wide World.
With Us and his squad currently working full steam ahead on album number six, it will probably take a while before another opportunity presents itself to catch Legacy Pilots in the act. If, however, they by chance actually do land a few gigs within travelling distance, my advice is to book your tickets early and simply go. The highly recommended quality release of Night Flight certainly invites this.
Mastord — Lemmon Lintu
Ahh Finland, a country of such supreme musical talent, and love for the heavier side, that there are on average 84.5 metal acts per 100,000 people (according to Encyclopedia Metallum), totaling around 4683 metal groups and making it the highest ratio of these acts per capita in the world. So naturally, it is one of the countries to feature in my music collection the most. And now, we have Mastord who come to us from that great country to deliver their third album Lemmon lintu, and judging by the cover art, I think I'm going to like this one…
Discordant keys flow into strings as we build through the short into of Särö and travel through the synth-backed Kutsu. With the full band, we get a driving rock song that is immersive and catchy. Kaarne evolves the sound further with a slightly harder edge, with the vocals delivering a more emotional tinged performance. Sammal is another short bridge piece that directs us into Villi. Here, the sharper edge is retained with an overall darker, but also more sombre tone as the music chops its way through the verses. The chorus is a powerful section, backed by emotion and superb harmonies being used to great effect.
Hautani marks the halfway point and fills the “ballad” spot – a slow burner, but packed to the brim with melancholia and a sound reminiscent of 90s prog metal. The gothic tinged Raja is another wee interlude that grows and builds into Varjoton. The 90s vibe shines through again, with the solos evoking similarities to some areas of Metropolis Pt II by Dream Theater. A bit more of a punch to it, flowing through solos to cinematic verses while maintaining the overall vibe of the album. With the album nearing the end, Hillenmutsa fires on all cylinders and throws in heavier chugs and compelling rhythms that complement the vocals and synth work to the crescendo before we slow down with a lovely wee solo.
Sametti, is another interlude, cinematic and layered in the execution, and both heavy and gentle at the same time, which soon becomes the more orchestral outro of Pyhä, ending the album with strings and brass as it fades to black.
In all honesty, my main issue with the album is I cannot sing along as I don't speak Finish! Maybe it is time to learn, so I can. But in all seriousness, this album is a superbly well-crafted work. Never overly heavy, never overly soft — it straddles that line of modern prog that should make it accessible to almost everyone. A very enjoyable listen.
Fans of Soen, Leprous, Dream Theater or Pain of Salvation, these may well be up your street.
Dominic Sanderson — Blazing Revelations
Dominic Sanderson follows up his well-received debut album, 2023's Impermanence with a more mature and considered effort that is laden with high quality prog that proves there is life and fresh blood in the oft derided genre we all love. The four tracks on Blazing Revelations all display the classic sounds and intricacies of classic prog. Sanderson himself handles all guitars and vocals with the occasional dash of Mellotron; bass and violin are played by Tristan Apperley; Andy Frizell blows saxophones and flute; Jacob Hackett (no relation!) handles drums and other hit things while Embiye Adalı handles those essential Mellotron, Hammond organ, clavinet, Fender Rhodes and piano keyboards. In addition to these core band members, Joshua Joyner and Massimo Pieretti add extra percussion and piano, respectively.
Starting off with intent, the fist half of From The Weeping Cradle is delightfully chaotic instrumental with the full range of electronic keyboards being put to good use. There is such a lot going on through these first six minutes that it is impossible to absorb in one take. What initially may appear a cacophony of disorder does resolve into distinct intricate passages with numerous, largely short, solos and some interesting juxtapositions of instruments — flute and Hammond organ being an interesting, and successful example. The second part is the vocal section which sounds like Sanderson is trying his best to deliver his lines in a Peter Hammill style. Unfortunately, it doesn't quite work as he has neither the range or manic qualities of Hammill. Still, the backing of organ and slightly psychedelic guitar works well. The final two-and-a-half minutes is back to instrumental with Apperley's violin making it's first appearance in a suitably acerbic manner alongside Frizell's saxophones in a passage that could well have been what Van der Graaf Generator would have sounded like if David Jackson and Graham Smith had been in the band when a studio album was in the offering.
Faithless Folly goes through a plethora of directions in its 627 seconds. A dreamy solo guitar oozes reverberating chords for the fist 90 seconds before a whispered vocal passage backed by bass and sax leads into a more rounded instrumental section with off beat rhythms and syncopated passages that have a hint of Gentle Giant about them. A brief properly sung section is superseded by more whispered vocals that don't really do a lot for me but the following guitar and organ solos are well suited to the piece and quite delightful. The maelstrom of sax breaks against the other instruments tips the piece into almost total chaos (it would take a much larger ensemble to replicate this live) before a gentle ending that begins with keys and ends with acoustic guitar. A heck of a lot going on, but it all seems to work.
The shortest track, A Rite Of Wrongs is rather the anomaly. Acoustic in the main, the guitar, flute and violin are supplemented by various percussive instruments. Musically it is great but it is the vocal department that is the weak element. Instead of singing it straight all the way through, Sanderson has opted to include spoken passages as well as more Hammillesque renderings that distract from the overall song. I don't know if he is trying to be too clever or thinks that a straightforward song is not prog enough, but to me, it is too much.
The closing Lullaby For A Broken Dream is a more coherent affair that has more of a solid structure than the opening couple of tracks. The vocals remain the weakest aspect and it would be an overall benefit if Sanderson would consider adding a dedicated vocalist to the mix, or at least someone who could provide stronger support. However, at over 16 minutes in length there are lots of instrumental parts — heck, the last nine minutes is totally instrumental — which are excellently played. Passages can be ascribed to various influences (VdGG and Floyd included) but there is an overall freshness to the track that makes it a very enjoyable listen.
Dominic Sanderson is shaping up to be quite a music force to be reckoned with. His first two albums have shown plenty of promise, skill and adventure. Hopefully he will grow further. iron out any imperfections and become a major star in the future; get in at the beginning!