Issue 2025-059
Bryan Beller — Calm Before The Storm
Mark Hughes
Bryan Beller, he of The Aristocrats and bassist of choice for artists such as Joe Satriani, Steve Vai and the wonderful Mike Keneally, takes a dip into his formative years revisiting and reimagining tracks from his sophomore album 2008's Thanks In Advance. Although the remix EP comprises just three tracks, they made up just under half of the original album and, rather more significantly, all have Aristocratic connections.
For The Aristocrats' first live appearance in 2011 each band member contributed two solo compositions, Beller's choices being Greasy Wheel and Cave Dweller, both of which appeared on the groups first live album Boing, We'll Do It Live. The third track, Love Terror Adrenaline/Break Through is the only Beller solo piece to feature drummer Marco Minnemann the two first encountering each other as the rhythm section on a couple of Mike Keneally concerts.
Other musicians on these recordings are guitarists Mike Keneally, Rick Musallam and Griff Peters, drummers Joe Travers and Toss Panos and keyboardists Jeff Babko and Mike Keneally (again!). In addition to the bass Beller also contributes rhythm guitars, piano and percussion. The remixes were undertaken by Forrester Savell.
So what was the incentive to remix these tracks? Beller is upfront as to the rationale: "I was a very young and inexperienced producer back in 2008, and while I was proud of the studio versions of those tunes at the time, I recently thought, 'Man, I'd like another crack at mixing those. I think there's more there.' Also, 2008 is a million years ago in today's 'forever now' culture, and there's probably people out there who don't even know this stuff exists. So why not reintroduce it with a fresh take?”
The remixing of the tracks has generated a freshness to the compositions but also serve as a reminder that the bassist did have a solo career prior to the formation of The Aristocrats and his most recent solo release, the excellent 2019 double CD Scenes From The Flood. As one would expect from an artist such as Beller the pieces are complex with intricately entwinned guitar bass and drum parts a proto-Aristocrats if you will although definitely not as out there as that band can be. One could say Aristocrats-lite but that would be a disservice to the composer and the performers. Besides, Love Terror Adrenaline/Break Through is a monster of a piece that could easily have been on any Keneally solo EP and the man himself is on fire throughout. It is a perfect musical representation of, as Beller himself explains, "experiencing and getting beyond a panic attack caused by all sorts of inner demons".
The remixes are certainly an upgrade to the original release exposing parts in a different sonic palette and justifies the reissue. However, more importantly it inspired me to revisit those early solo albums and relish a couple of albums that had slunk off my radar for far too many years.
Esthesis — Out Of Step
Béla Alabástrom
Welcome to the digital era
Swallowed up by massive data set
We're diving in the waves of fake connections
In an age where information is effortlessly and instantaneously transmitted across the globe, where communication has sloughed off the constraints of distance, where literacy rates are the highest in history, surely the ultimate paradox of "social" media is its anti-social nature. Enslaved by the pursuit of the dopamine hits from "likes", cosseted by the algorithm to believe the world view we subscribe to is shared by all but a minority whose recalcitrant refusal to see the light must indicate a fundamental defectiveness, excluding even the hypothetical possibility of genuine engagement or exchange.
Where the entirety of human knowledge can be consulted on a smartphone screen, critical thinking is actively discouraged by those whose plan is to reduce us to compliant factors of production supporting their political and profit-driven agenda against our own best interests. The faceless legions of armchair warriors spew their vitriol and hatred unchecked, fomenting division and intolerance from the safety that anonymity affords them. While the constant ping of notifications interrupts our train of thought, curtailing our attention spans, the carefully curated images of perfect lives offered up simultaneously beguile us and leave us feeling inadequate.
Genuine human warmth and connection have been stripped away, empathy and kindness are conflated with weakness, we are left isolated, alienated and vulnerable to manipulation. Our current malaise forms the backdrop to Out Of Step, the third album by Esthesis, which captures the contemporary manifestation of digital anomie with uncompromising incisiveness.
Densely atmospheric and suffused with brooding intensity, Esthesis have produced a masterpiece of granular detail, each instrument adding layers of texture. This is Le Corbusier or Gropius rather than Bernini or Wren, subtle gradations of grey, the cold roughness of unfinished concrete to the touch, yet utterly compelling and immersive.
Opening with a bleak, rhythmically repeated sound like the delicate trembling of a piano echoing in the vastness of an empty concert hall, Connection is dark and introspective. Curls of cigarette smoke in an interrogator's lamp, everything beyond the glare obscured and pervaded with dread. The vocals are understated, almost muttered, conveying the state of (voluntarily) suspended animation of the smartphone's captives, oblivious to their surroundings.
Marc's rich and sonorous bass soothes, and the keys sparkle with a disorientating lightness like snowflakes hurtling towards the windscreen during a night drive in the depths of winter. This is not a warning sign in flashing neon, but far more insidious, the unperturbed detachment inculcated in us which remains unnoticed.
The Frame, an aptly economical metaphor for the constricting regimentation of social conformity, exudes post-industrial bleakness and melancholy with an undertone of menace, as it powerfully distils contemporary anxiety, sensory saturation and mental overload.
Fractured #1 functions as an instrumental interlude, keys tentatively building in an impalpable, flowing ambient meditation, like fronds of mist rising from forest-clad mountain slopes after rainfall. Its companion piece, Fractured #2 is unsettling and ghost-like, a barely audible half-breath, half-mumble displaced by machine-like programming briefly punctuated by a few haunting notes of church organ-like keys.
The title track again explores the disjointedness, feelings of defeatedness and not-belonging which engulf us. A repeated motif on the keys reminiscent of a train's horn as it thunders past at a level crossing coalesces with the bass and percussion, Rémi's guitar lending urgency beneath the serene yet subdued vocals, like the headlights of a passing car projecting shadows on to an alleyway wall.
A pensive, swirling instrumental passage ratchets up the tension, Arnaud's drums deliberately breaking up the flow before the heavy key sound familiar from The Frame forcefully asserts itself, in turn interrupted by strategically and masterfully deployed silence. It is this exacting meticulousness which both characterises the album and sets it apart. The closest comparison I can make is with Massive Attack, in particular Risingson, in terms of evoking an atmosphere of unease and in precision of focus.
The longest track, The Storm, skilfully weaves together and amplifies all of the motifs which preceded it, reconfiguring them like the colourful patters in a kaleidoscope. It begins softly with a repeated phrase on the keys, drums heralding the overlay of synths, guitar and bass, adding shade and nuance and accentuating the shifting mood. Aurélien's vocals again almost whispered, articulating the state of perpetual numbness which envelops us, keeping us compliant.
Arnaud's drums disrupt the rhythm, like a sudden palpitation, Mathilde's vocals soaring serenely above the turmoil, lending an other-worldly touch, Rémi's guitar taking over in a plaintive lament, underpinned by a gravelly amp-like humming before breaking into a heavy riff. Mathilde's vocals take over briefly, the storm subsiding, yet the inner turbulence persists, until an uneasy resolution is reached, the initial key phrase resuming and gently fading with Mathilde's voice in a fleeting, intangible aurora-like flicker before the vacant hum of the amp overwhelms all other sounds with its flatline.
Out Of Step is Esthesis' most mature and sophisticated work to date. The musicianship does not swagger, in an ostentatious one-foot-on-the-monitor display, but revels in restraint. Its vast cinematic soundscapes are unyielding, yet never drab or completely forlorn. A sombre masterwork reflecting the dark and uncertain times we live in.
Finally George — Painter
Jan Buddenberg
Besides his various contributions to Legacy Pilots, most recently their live album Night Flight, Hamburg-based musician and producer George Hahn (aka Finally George) also maintains a modest solo career. So far this has resulted in the 2018 debut album Life Is A Killer and its 2021 follow-up Icy Skies. Two outstanding albums that both manoeuvre between the dividing lines of progressive rock, pop, and art rock whilst expressing colourful impressions of RPWL, Steven Wilson, Hogarth's Marillion, Pink Floyd, David Gilmour, and the emotional immersive depth of Barclay James Harvest. On this third release Painter, multi-instrumentalist Hahn (vocals, bass, keyboards, guitar) consolidates this wonderful musical palette with nine exceptionally well-crafted songs.
Recorded over a longer period of time, and musically reflecting upon the present where issues like lies, hatred, war, and division pencil our everyday lives, Hahn does ask himself whether perhaps the overall mood of Painter is too melancholic. Which given the actual amount brushed into the gorgeous compositions is a fair question. The answer, however, is also fairly clear. Because if music, lyrics and interpretation ultimately become so breathtakingly beautiful and emotively stirring on a whole, then You can never have enough of it!
Featuring various guest spots and the omnipresent appearance of Todd Sucherman (Styx, Alta Forma, Legacy Pilots) on drums, this infinite moreish attractiveness starts in Painter, with smooth piano by Matthias Pogoda, and pop melodies laced with warm vocals and harmonies in sweetest Queen image. Once heated by Hammond organ (Detlef Bösche), it reminds me of atmospheric Pink Floyd. A majestic emotional brushstroke of guitar by Erland Krauser ultimately quiets into harmonious choirs featuring Billy King that resonate with Irrwisch.
The vulnerably sung Something New glides with Beatles-esque melodies with poignant guitar and alluring orchestral arrangements that breathe Barclay James Harvest. Steven Wilson fans can prepare themselves for the fantastic Why: contemplative in nature and brimming with Porcupine Tree influences. This composition flows intricately onwards with voiced disbelief about the hopelessness of war. It explodes with a bombastic outburst of heavy riffs and thunderous drumming by Sucherman.
What Kind Of Place follows this impressive highlight with wonderful reflective melodies and enlightening orchestrations. Listen continues with identical melancholy and a marvellous melodic build-up which sounds beautifully multi-layered and spatial. It's also a wholesomely magical listening experience thanks to its completing synth solo, the song's epic emotional concluding guitar solo, and the sublime Sucherman, who in full service of the song instinctively senses when to be dynamically bold, subtly withhold or even completely fold.
Sunrise awakens more memories of Barclay James Harvest, also emerging in the melancholy drowned My Way To You when mournful trumpet and classical influences outlined by cello (Boris Matchin) and violin (Stefan Pintev) join the gratifyingly flowing melodies.
Before the album draws to a pensive close with Wolves, which reminds me of John Wetton, it is the astonishingly attractive Child Of The Universe, coincidentally (?) an iconic BJH title, that ultimately rolls on the album's pinnacle "Mona Lisa" moment. Instrumentally flawless, epic in scope, and magnificently sung by Hahn, this majestic and thoroughly captivating composition shares both glimpses of Porcupine Tree and Genesis. Next to an exalting heavy bridge spurred on by Sucherman, it brings a glorious mesmerising coda that coats listeners in symphonic bliss.
Nicely packaged with complementary artwork, photography and paintings by Hajo Müller, Although it is somewhat sad that lyrics have been omitted, I cannot recommend this album highly enough. Riveting from the start, Painter holds you in a warm embrace for the duration of nine sublime compositions. And once this entwinement finishes after 46 absorbing minutes, you directly want to experience this indulgent enveloping warmth all over again. Truly inviting and destined to end up high on my year list, Painter is all in all a stunning album totally worth adding to your collection. Please show your sympathy and make your acquaintance with this formidable album!
Panzerpappa — Landsbysladder
Owen Davies
Landsbysladder is complex and gratifyingly accessible. Panzerpappa's eighth studio album is a worthy successor to 2019's excellent Summarisk Suite and in many ways it is even more impressive.
Although complexity and accessibility are perhaps not usually associated with each other, Panzerpappa manage this in Landsbysladder by utilising inventive rhythms and by infusing the music with dynamic shifts and numerous absorbing changes of emphasis. These traits ensure that Landsbysladder is fresh and intriguing and never predictable or hackneyed.
Ear-friendly passages dart and weave memorable motifs charm and clasp, glorious melodies waft and linger. Their pleasing presence and emotional push and pull, lifts the spirits like the lingering fragrancy of a rose in the drifting Autumnal air.
The title Landsbysladder is probably familiar for anybody who has heard the bands 2016 Pestrottedans release.
One of the highlights of that album was a track called Landsbysladder 3. Four tracks in the latest release refer to Landsbysladder (village gossip). However, all the tracks of the album refer to stories or gossip related to a village. Saxophonist Steinar Borve is credited with the concept and story which accompanies each piece in the extensive album booklet.
Landsbysladder petty four has a similar Crimson-esque vibe to the original Pestrottedans piece. Both tunes possess some common rhythmic themes which indicate some possibly shared heritage. Landsbysladder pas de deux is particularly striking and along with the outstanding Kuldeskrik sums up all that the band do so well.
These pieces are over seven and nine minutes long. Consequently, several themes and diverse ideas are given the scope to develop. Creativity, innovation, inspiration all have a part to play. Measured improvisation was no doubt also central to the crafting of the compositions. The results are two distinctive tunes that have structure and recognisable hooks, but also have exhilarating and unexpected aspects.
Kuldeskrik is probably my favourite track. Its gently evolving opening passages are dramatic and engaging. As the piece develops enthralling rhythms rise, clang, squall, and call. A notable recurring motif haunts the memory and stimulates the senses.
However, it is the beautifully toned guitar and sax interplay that predominantly flutters feelings and lingers in the mind after the tune ends. The contrast between the tonal qualities of the two instruments is beautifully exploited in a series of repeated phrases.
Landsbysladder pas de deux has a delightful Canterbury feel. Time in its company just flies by. There are satisfying rhythmic nods to bands such as, Hatfield & the North and National Health. Landsbysladder pas de deux is by turns sweet and bitter, restful, and stimulating; unpredictable and predictable. It's simply great and is a tune that I have regularly placed on repeat.
The rest of the album is no less impressive, the gentle accordion of guest Rannveig Djønne gives a different set of rustic colours to the beautiful and melodically rich Landsbyminiatyr.
Ah, nyhetspamp has some strident sax solos and a great synth solo by guest musician Ståle Storløkken. På jolla, til Nordafjell has much to commend it. The tune dips into many different styles and its varied instrumentation and changes of pace keep things interesting.
If you like superbly executed complex yet accessible progressive music with spiced with elements of Canterbury and Jazz that encompasses a variety of moods and shades, Landsbysladder has this and much more.
I think this is probably Panzerpappa's best.
Starer — Ancient Monuments And Modern Sadness
Calum Gibson
Once more I find myself listening to Starer, a solo band created by Josh Hines back in 2020. Since then, they have had numerous releases over the years including four EPs and three full albums. This year, 2025, album four has arrived in the form of Ancient Monuments And Modern Sadness, described as “eight songs of ancient poetry set to a heavy modern soundtrack”. Sounds good to me.
I am pleased to say that this release continues to build on the previous works, retaining the melodic atmospherics that are infused with the intensity of modern black metal. Riffs, grooves and haunting symphonics abound between aggressive screamed vocals in a raw and harsh sound. The production feels a bit better than previous releases, but still retains enough of the raw expression to keep it exciting, while again the writing feels like Hines has continued to grow again since the last album (2023's Wind, Breeze, or Breath which I also thoroughly enjoyed).
The release encompasses all that I enjoy about black metal – While a lot of modern albums are either trying too hard to be edgy or over the top with theatrics, Starer keep to the foundations and modernise it. Melodies are well crafted to create dark and anxious tones, while the blistering wall of sound from the other instruments is the perfect backdrop to the shrieks and screams of the vocals.
Once more, a fantastic release from the talented Josh Hines. Now let's see if we can get them over for a festival or two in the UK...
Johan Steensland — Duality
Jerry van Kooten
About a year after his solo debut Crossfade, Johan Steensland from Uppsala already released his second solo offering, Duality. Everything you hear speaks experience.
While the origins of Crossfade stem from the mid 1980s and were left for a few decades, Duality is all new.
And what we have here is another prog opera, following suit from the Crossfade. No epic rock opera a la Ayreon but more storytelling and lighter prog work in the vein of Clive Nolan's musicals. The story is important and told well. There is enough room for some musical soundscaping, especially in the last, and longest track.
Divided into chapters, the music follows the theme and atmosphere of the music pretty well. I wonder whether the music was fitted to the lyrics or the other way around. When listening I focus on the musical experience, sometimes shuffling the songs around.
While mostly in the symphonic style, the album veers into progressive and jazz-rock territories as well. Two examples of the latter are An Ordinary Man and the closing track, where the jazzy touch mixed with modern prog reminded me of Philmore. Steensland is mastering them all with relative ease.
Several of the songs have a stronger pop sense, giving a Peter Gabriel feel in the musical sense. The Shredded Suit has a fierce, almost agressive shredding on the guitar (see what he did there?). The Perfect Lie is the most neo-prog styled, but also includes some more impressive guitar shredding. And in They Believe That I Am Kind I hear a Floyd-ian attraction and a lean towards a Gilmour sound on the guitar.
Steensland has a unique and warm, emotional voice. The female parts in the story are sung by Aleena Gibson, and they both match and contrast very well.
With my taste preferring things a bit heavier, I would love to hear Steensland, for example, go wild on an album of instrumental prog. But I am a listener and not in a position to make requests, and I am a reviewer and I am here to tell you that if you like modern and highly melodic prog in a number of sub-styles, with excellent mix and production, then you should take a listen to Duality. Nothing too groundbreaking, perhaps because of the sticking to the storyline, but with a few unexpected outbreaks, the variation and no repetitions, a very good listen.