Issue 2025-019
Beneath A Steel Sky — Cleave
So how do you go about choosing music to listen to when it is not an artist you already follow? Have you heard one track? Many tracks? The whole album? Or maybe you are taken by the cover art? I have chosen music to listen to on all of the above influences. But with Beneath A Steel Sky's Cleave I chose on the basis of the title of the first track! It is the opening sentence of William Gibson's 1984 science fiction classic Neuromancer. The novel that kicked off cyberpunk as a genre and is one of my favourite novels.
Formed in 2020 as an instrumental post-rock, post-metal band they added vocals for their debut album Cleave. It is an album that for me tests my limits rather strongly as I have no liking for the growling style of vocal used here, along with clean vocals. I find growling an odd artistic choice, one that commits the artists who use it to a rather limited niche I should think. But it is their choice and I have no wish to claim my choices are any better. My dislike is purely a personal one, and I decided to treat the growling as another instrumental colour.
The music that this Scottish band has some emotional depth. Building the tracks with harmonically intertwined guitar lines, grounded by reverberant bass and prodded along by delicate drums and clean vocals. This all builds to cathartic climaxes of thundering prog-metal outbursts, grinding riffs and the use of growling vocals. The clean vocals are great and the deployment of keyboard textures add nice touches.
Except the grunge feel of Vanguard, all the tracks tend to use variations of the build of tension and the release, and not always a comfortable release, of that tension. The use of similar pacing on these tracks becomes less of an issue on repeated listens with dynamic volume changes taking a central role. Beneath A Steel Sky also know how to craft and develop a melody.
Beneath A Steel Sky's Cleave is an album that instrumentally is like an earthbound, dirt under the fingernails take on the cosmic post-rock of early Mogwai along with the non-conventional song structures of Cult Of Luna, and the looping, evolving nature of Russian Circles' work. Investigate Cleave if you have a liking for this style of post-rock.
PS: Rethink your font colour on Bandcamp, it's nearly unreadable on the black ground!
Ghost Of The Machine — Empires Must Fall
With their spectacular debut Scissorgames, Ghost Of The Machine immediately established their credentials as a force to be reckoned with on the contemporary prog scene. I vividly recall Winter's End in 2023. All of my prog friends whose opinions I value urged me to make my way to the front to capture their performance. How right they were! The anticipation in the Drill Hall was already palpable, but from the moment vocalist Charlie Bramald stepped on to the stage swathed in a cloak, the energy levels in the audience went through the roof. Ghost Of The Machine regaled those assembled with everything the lover of melodic prog could possibly wish for: superb musicianship, seamless cohesion and flawless execution, theatricality, passion, vitality and freshness in an environment which too many still consider hidebound with a faint whiff of decay.
Empires Must Fall builds on the foundations of its predecessor, picking up the storyline where Scissorgames left off. Having exacted terrible revenge on the evil Puppet King, his final victim has now ascended to the throne as Empress of the Light. The central question is as profound as it is (deceptively) simple: will she prove to be a benign ruler? Or will it be a case of, to quote The Who: "Here comes the new boss, same as the old boss"? Is justice merely an illusion? This demonstrates how the album can be enjoyed either as a gripping, dramatic, richly rendered and immaculately detailed fantasy tale, immersing the listener in a warm glow of escapism, or as a complex and incisive allegory of the political and cultural context we inhabit. It is a testament to Charlie's manifest gifts as a lyricist that it works so perfectly as both.
Keepers of the Light erupts spectacularly like a solar flare of radiant joy, neo-prog at its glorious and exhilarating best. Delivering a heady intravenous rush of Ghost Of The Machine's unmistakable signature sound, it provides everything that we fans have been longing for. The hints of Genesis, IQ, Stuckfish and Comedy Of Errors only serve to enrich it and situate it within a long and distinguished lineage. The precision of the guitars and bass in perfect synchronisation prefigure and exemplify the intoxicating display of musicianship to come. Mark Hagan's keys exude optimism and hope, mirroring the (as yet) unsullied idealism of the protagonist. Music and lyrics fall into a seemingly effortless alignment, rounded off by a killer chorus.
Continuing their collaboration with Bob Cooper as producer was an inspired decision, as he demonstrates great sensitivity and deftness of touch in revealing the depth, richness and complexity of the whole without neglecting the details, each individual performance rendered with clarity and meticulous care. Similarly, Claudia Carnafa whose artwork so strikingly and evocatively graced the cover of Scissorgames has again superlatively portrayed the victim turned Empress of Light in all her coldly luminescent splendour.
The Days That Never Were explores the paradox of the Empress' reign on the day of her coronation. The tyrant deposed through murder, the damned spot cannot be removed, a perpetual stain. The track opens in more subdued yet stately fashion before bursting into full 70 mm resolution Technicolor bloom 21 seconds in, receding again to focus on the narrative. This ebb and flow continues throughout, with slower, more introspective passages alternating with soundscapes of sweeping cinematic grandeur. Resolutely upbeat, the cracks have not yet appeared in the carefully cultivated public image, the feet of clay concealed beneath the Empress' flowing robes.
The panopticon was conceived by utilitarian philosopher Jeremy Bentham as a prison in which all inmates could be observed by a single omnipotent warden without knowing whether they were being watched at any given moment. The uncertainty was intended to intimidate them into compliance at all times. It serves as the quintessential metaphor for the surveillance society in which our movements are caught on camera on average 70 times a day.
The track of the same name is the first of three majestic epics, divided into five parts. Opening instrumental Real Eyes rises above the woes and preoccupations of the Empress' subjects with serene detachment, as if from a drone's perspective, skimming over the city, conveying a sense of its vastness. At 2 minutes 18, the illusory calm is shattered by a series of urgent drumbeats, joined by keys and guitars which create a spikier, more menacing atmosphere, Andy Milner's bravura performance simultaneously driving the song forward and imparting added bite, the pent-up fury of the disenfranchised unleashed. Stuart McAuley's bass is likewise a revelation as it adapts to the shifting demands of mood and texture, with astonishing subtlety and fluidity.
The pace slows and the drums recede, yielding to the keys which launch into a sequence of four notes, the hypnotic repetition of which heightens rather than dulls the sensation of unease and foreboding, and to a plaintive guitar matched by Charlie's vocals as the protagonist endeavours to steel himself for the tribulations his actions are certain to provoke.
Ghost Of The Machine (promo photo)
It is easy to hear why Charlie is in such huge demand as a guest vocalist such is the passion and conviction he projects. This is echoed in the guitar solo which follows, expressing the protagonist's inner turmoil before breaking off to allow the momentum to gather again, as the dogs of war snarl viciously, straining to be let loose. With its muted, almost hesitant quality, the conclusion illustrates the originality and attention to detail which characterise the album as a whole: rather than opting for a gung-ho, triumphal climax conjuring up mental images of palace-storming, pitchfork-wielding mobs, it instead implies both the moral qualms involved and the mettle and courage required to take a stand against oppression.
With the build-up in the storyline, a second epic in rapid succession was an inevitability. Fall Through Time consists of four parts, opening with a gentle six-string bass and synths, once again delightfully confounding expectations. Accompanying the protagonist on his inner journey from devotion to disillusionment, a heavier electric guitar is briefly layered on before the piano and synths take centre stage, imparting pathos and wistfulness. As the confrontation looms, the pace again quickens, drums pounding like an elevated heartbeat. After 5, the synths move up a gear with a wonderful crowd-pleasing neo-prog flourish, repeated as the protagonist's resolve falters in the face of impending doom, the precipice yawning before him. The piano ushers in a haunting instrumental fraught with tension, Scott Owens and Graham Garbett on guitars lending poignancy as well as emotional intensity, matching the concentrated anguish in Charlie's vocals, the synth and drums reasserting themselves just before the fade-out.
The shortest track on the album, The One, follows. In a marketing masterstroke, it was released as a single on 1 January, launching an astute campaign of ratcheting up anticipation amongst fans (Panopticon providing a second tantalising taster exactly one month later). An almost dreamlike intertwining of guitars introduces a very different feel, more redolent of (for lack of a better designation) "modern" prog, sparser and more streamlined in arrangement. This allows the melody to shine through, carried magnificently by Charlie's vocals, a siren-like sound heralding an all too brief synth extravaganza. Charlie's lyrics deserve special mention here. Condensing an epic narrative into song form while retaining coherence, intelligibility and flow, and portraying characters vividly and compellingly in a manner which engages listeners is a very specific skill. Whereas Jon Anderson's genius lies in exquisite allusion-saturated lyricism, the twin poets laureate of neo-prog are Peter Nicholls (IQ) and Jim Johnston (Comedy of Errors). Charlie is the heir apparent, his lyrics compact and possessed of the requisite immediacy and clarity.
Fittingly, the concluding epic, After The War, is the longest track (in six parts). It opens sombrely, capturing the disorientation and deflatedness of the aftermath, as the dust settles on the rubble. Bitterness, exhaustion and regret pervade the protagonist's voice as he acknowledges the toll taken. At 4 and a half minutes, Mark's piano strikes a melancholy, soberly reflective tone, which blossoms to its full potential when joined by bass, guitars and drums. The city's streets lie deserted, as its inhabitants cower traumatised.
Amidst the desolation, the protagonist departs, not slouching away in defeat, but with a faint glimmer of hope and reconciliation, a delicate piano rippling like a breeze caressing the surface of a pond, all the while the guitar soaring above, the final note on the keys slightly dissonant, almost fairground-like.
Offering a sumptuous and richly melodic feast for all lovers of prog, Empires Must Fall surpasses Ghost Of The Machine's highly acclaimed and much-loved debut, retaining their inventiveness and invigorating originality as their style has matured, and they have grown in confidence, and cementing their position as one of the very finest contemporary exponents of neo-prog. Even though 2025 has barely begun and is shaping up to be an unrivalled year in terms of the quality of new releases, I am convinced that this wonderful album will feature in many Top 10 lists come December, including mine.
John Greenwood — The Boy
John Greenwood returns with yet another stunning album especially after his previous effort which I thought would be hard to beat. Spoken dialogue introduces us to our hero of this project as he contemplates what lies above in space and beyond. Succumbing to climate change, the farm on which he grew up with his parents, was becoming harder to manage. Living close to a rocket launching site, the young lad kept dreaming of what other possibilities he could expect to experience if he concentrated his thoughts and efforts by staying focused and not loosing sight of his ultimate dream of flying into space.
All the while, the melodic and anthemic keyboard and guitar studded interplay, keeps a wonderful melody to add impetus to this haunting tale. Despite the allure of a young girl who lived close to the farm, the boy kept dreaming of what life might be like if he left earth and travelled far above and beyond. The thought of a possible life together with this young girl was tossed aside and our intrepid hero maintains his thoughts of space.
This dreamy and spacey music is given much impetus when his daughter, Emma Bartsch, adds her angelic vocal talents to the music and gives it an ethereal feeling that really makes the music far more comfortable to delve into and be fully absorbed into the story. John's guitar skills are also put to excellent use right throughout this album as each of the 6 separate pieces evolve and develop the story into a very absorbing and engaging experience for the listener.
This is an album that really needs to be listened to intently and fully digested to appreciate all that is being presented. The music itself is stunningly beautiful, haunting yet melodic, adventurous yet controlled and incredibly emotional from the perspective of the young boy. Words don't really do this album justice from a reviewer's perspective. It is simply a stunning album that I keep playing as I'm sure any aspiring buyer would also wish to do. I can see this album being on many people's wish list, and I'd be very surprised if it doesn't rate highly in this site's best album of the year awards. As the saying goes: Just buy the album! You can thank me later!
A great effort John and an album that will keep the runs on the board for a long time to come.
Steve Hackett — Live Magic At Trading Boundaries
In a break from the seemingly annual live Genesis Revisited albums, this latest Steve Hackett live album is a stripped back selection of recordings from his annual acoustic performances in the intimate Trading Boundaries venue in the UK. Aside from Hackett, there are the usual support crew of brother John Hackett on flutes, Roger King on electric piano and synths, Amanda Lehmann on additional guitar and Rob Townsend on saxes and flute.
Hackett has never been averse to rearranging pieces to suite different line-ups and throughout his career has frequently recorded acoustic pieces. Anyone who has witnessed any of his classical concerts knows just how accomplished an acoustic guitar player he is. The CD kicks off with a solo Hackett playing an improvised piece to warm up before diving into the Wind And Wuthering classic Blood On The Rooftops and then three titles from 1983's Bay Of Kings, his first album of instrumental, classical guitar music, although, of course, Horizons date back to over a decade before that album.
Hackett's accomplices emerge to a lively and very enjoyable Jacuzzi where the flute of Hackett, John, and saxophone of Townsend intermingle seamlessly creating their own harmonies. The Supper's Ready excerpt is restricted to the flute section at the start of Apocalypse In 9/8 which transitions beautifully into two further Genesis songs, After The Ordeal and Hairless Heart. These stripped back versions emphasise just what beautiful pieces of music they are. The improvisation at the end of the final of these three tracks is performed by King and Hackett with King doing the majority of the work until Hackett brings it back to the main theme of the track.
Jazz On A Summer's Night a co-composition by the Hackett brothers has appeared on a couple of Hackett live albums as well as on a John Hackett/Nick Magnus live recording, so it is not surprising that is performed largely as a duet (with a few synth embellishments) as is the following Gnossienne No. 1 from the only album the brothers have released as a pair, 2000's Sketches Of Satie. The pairing, as would be expected from brothers, is a delight, and it is somewhat of a surprise that the two have yet to record a full album of joint compositions. The brother's showcase is completed by Walking Away From Rainbows from 1993's Guitar Noir.
A dramatic change in sound is heralded by the voluminous church organ sound generated by King on the excerpt from Francis Poulenc's organ concerto. Grand as it is, and I, for one, could certainly have listened to more of the mighty organ, King switches to electric piano do that the acoustic guitar and flutes can be heard. A final organ flourish leads into Spectral Morning's The Red Flower Of Tachai Blooms Everywhere and, one of my favourite Hackett solo pieces, Hands Of The Priestess A new version of this haunting melody is reason enough to get this album as it never fails to lose its magic.
The oddities on this collection are the inclusion of two songs from Amanda Lehmann's solo album Innocence And Illusion. I suppose they break up the set, but it is obvious that they are not of the same quality as Hackett's own songs, even if he does get a chance to show off his harmonica playing on Only Happy When It Rains.
The CD ends with a sprightly jaunt through another perennial Hackett favourite, Ace Of Wands where the main players all shine in a superb rendition. The end comes with keys and classical guitar on another cut from Bay Of Kings and The Journey. It is a fitting piece to conclude proceedings and brings to an end an hour, well at least 50 minutes, of great performances of exceptional music. A great addition to any Steve Hackett collection.
Inner Prospekt — A Glimpse Of A Bigger Story
In my household we usually try to reserve our Sundays for musical entertainment, family outings, and lounging in front of the TV to watch shows like Bargain Hunt, Grand Designs, and The Property Brothers. Two latter two being programs that follow ambitious home-owners build either their own designed houses from scratch, or sees them hire the expert help of property developers to ultimately create their dream home.
Transpose these constructive circumstances onto the work ethics of Alessandro di Benedetti (vocals, keys, drums) for a moment, and one gets a fair view of what A Glimpse Of A Bigger Story houses: a collection of Inner Prospekt songs rebuilt from the ground up. We get six songs and five piano intermezzos which are stylishly reimagined and richly decorated with jazz refinement and colourful prog embellishments.
Calling upon the developing expertise of interior decorators Rafael Pacha (guitar), Federico Tetti (guitar, sax), Carmine Capasso (guitar), Manoel Macia (guitar) and Giuseppe Militello (sax), the resulting A Glimpse Of A Bigger Story is a wonderful demonstration of Di Benedetti's visionary compositional talent. An effort that true to style shines bright with beautifully arranged and elegantly flowing prog-garnished compositions that wholesomely enchant in soothing jazz arrangements.
The likes of which instantly coming into view in opener The Heart Maker Tale, a song featured on Deep Ghosts 
, when its classical chamber music opening statement melodically settles in smooth jazz. Ticking with tenderness and warmth to which Di Benedetti's vocals add a comforting melancholy, this lovely song goes on to seduce with twinkling melodies, before it rounds of with a touching Steve Hackett solo by Tetti.
Reimagined from Inner Prospekt's Man In Blake , A Poison Tree also shimmers with jazz, while flute, symphonies and acoustic interpretations glide into an electrifying blues solo by Pacha. Much like Three Steps Ahead from Inner Prospekt's 2015 album The Gene Machine which in Genesis fashion ripples attractively onwards with delightful impressions of Al Di Meola and Lee Carlton, until the intricate union of symphonies and emotive guitar by Manoel Macia victoriously processes this wonderful song on a heavenly heart-warming high.
Equally appeasing is The Girl From The Ocean from Ocean Suite . Wholesomely carried by Militello's seductive sax, it has a polite hint of Sting's poppy jazz. Midway through, it builds a beautiful symphonic momentum in memory of Samurai Of Prog and Genesis. Pacha then gracefully dips into Pat Metheny style pickings.
The musical overhaul of White Skies is just as beautifully done. In likeness to its exquisite counterpart as immortalised on albums by Inner Prospekt and Samurai Of Prog, its symphonic presence is still perfectly intact. But this new reconstruction sounds ever so gracefully more vibrant and upbeat from the start. It even becomes wondrously reminiscent of Argent as it playfully glides through its many atmospheric changes.
The most remarkable musical changeover is however presented in Punto di non ritorno, which as Point Of Know Return was last published on Canvas One. Contrary to the original that adventurously explored the progressively symphonic realms of Kansas, Mandalaband, PFM, and Modern Rock Ensemble, this astonishing remodelled version brings lounge jazz highlighted by piano and bass. Soft massages of tempting sax ultimately finish in rhythmic bossa nova fusion, which Tetti gorgeously ornaments with captivating Santana vibes.
Released only in digital format in order to raise funds for the physical release of Inner Prospekt's next album Solid Glass Structure, the jazzy unhurried nature of A Glimpse Of A Bigger Story caters perfectly for a pleasant time of relaxation and lounging. And as an insightful "reconstructed retrospective" represents a grand invite to subsequently explore Inner Prospekt's highly recommended musical legacy in full. This is readily available on Bandcamp at a great bargain price. So for anyone pursuing richly satisfying musical profits, I'd say the chase is on!
Marton Juhasz — Metropolis
There are many things to admire about this beautifully composed and executed jazz fusion album.
If you enjoy the music of artists such as Weather Report, The Headhunters and Passport, then much of Metropolis might be appealing. It is marinated in a refreshing mix of flavours that hark back to the multicoloured shirts and high waistband flares of the mid 70s, when fusion was in vogue.
However, the album is also satisfyingly sprinkled with some contemporary influences. Its tints of modern fusion and a variety of intricate rhythms from around the world ensure that everything about the album sounds fresh and alive. This is in no small measure due to the performances of the players on the album.
Marton Juhasz is a well-known and highly respected Hungarian drummer who has worked with many leading jazz musicians. He also has appeared on numerous albums. His sensitive and sometimes inspirational playing is the foundation for much of the music. Although he is the leader of the band and the skilful use of his kit is essential to the album's success. Juhasz does not dominate proceedings. His carefully spun compositions give many opportunities for the other members of the ensemble to express themselves and when the opportunity arises for a series of inventive solo passages to develop.
The beautiful tones that emanate from Fabio Gouvea's guitar is one major reasons why the album is so pleasing to listen to. His delicate picking gently embellishes many of the tunes. On other occasions a haunting wash full of reverb adds a satisfying texture to the music.
Guitar and sax often work in conjunction to deliver the main melodic themes and motifs of the pieces. Satisfyingly, the two instruments are also used prominently as solo voices, to develop, or change the direction of a tune, or to reinforce a melodic idea.
Ancestral Drift has much to commend it. The tune has many subtle attributes. The guitar acts as a rhythmic hook whilst gorgeous piano lines fill in the spaces. The change of pace that occurs as the tune journeys towards its conclusion, is beautifully executed.
In this tune and indeed throughout the album, the rhythm section is equally impressive. Juhasz crisp drumming and ability to change pace or rhythm is at the heart of this excellent piece. The combined guitar and sax riff that erupts in the second half of the piece was particularly compelling. Whilst, the wailing and expressive notes of the guitar, in conjunction with the breezy fading notes of the sax, was a fitting way to conclude this enjoyable tune.
During Ancestral Drift, the textured guitar parts were reminiscent of Rob Luft's work with Big Bad Wolf. In other pieces, some of the guitar lines provide proceedings with a tint of world music ambience, and recalled players such as Lionel Louke.
However, by far the most strident guitar solo occurs in Mr. Busyman Goes On Holiday . It's quite fantastic and the sax and guitar combination in this piece are equally gratifying.
I really admired the intricate rhythms of this album. I also appreciated the wide dynamic range of the music. Reflective passages, riffy motifs, wonderful ensemble passages and expansive solos all have an important role to play. Most of all though, the empathy that the musicians show to each other is probably the standout feature of the release. This ensures that much of the album has a refreshing appeal.
This is certainly the case in the enjoyable São Paulo. It begins with a strident motif, where the bass has a prominent voice in the mix. All its ingredients work well and all members of the ensemble combine and contribute impressively. The sound of a gurgling synth was an unexpected bonus, and the way the guitar filled in the gaps before returning at the tunes conclusion to its main melody was also very satisfying.
Overall, I thoroughly enjoyed Metropolis, and it is certainly an album that I will play again