In a piece of very welcome news for fans of 80s prog, the legendary Twelfth Night are set to release a new version of their classic ‘Smiling At Grief’ album entitled ‘Smiling At Grief…Revisited’ in March.
The reworked material, set to have new instrumentation, new mixes and vocals features contributions from some of the current prog scene’s most important figures, including Steven Wilson, The Tangent’s Andy Tillison, and Camel’s Peter Jones.
Since the release of his self-titled EP in 2019, Matt Jatkola – aka JATK – has slowly built a fine catalogue of recordings. A series of digital singles released throughout the lockdowns of 2020 and ’21 further showcased his great talent for fuzzy, retro, and very 90s derived rock music. With influences ranging from big power pop hooks to introspective shoegaze oriented noise, the one man band has really carved himself a niche within the independent alternative rock underground. JATK’s coolness extends far beyond the music itself, too. When experienced as a whole package, it’s clear that Jatkola has thought very clearly about his brand, with each digital release wrapped within the visuals of a half eaten doughnut. To see each of the JATK digital releases together is almost like reimagining the classic Suede singles in junk food form…and they look great.
Ever since the release of their self-financed ‘Advorsus’ in 2016, Sheffield’s Kurokuma have marked themselves out as one of the UK’s heaviest bands. Across a series of EP releases over the next few years, their uncompromising blend of sludge, doom and hardcore has gained them a very loyal cult following.
For a rock band so well loved, Def Leppard aren’t often given the cover tune treatment. You might remember Emm Gryner’s excellent ‘Pour Some Sugar On Me’ on which, the Canadian singer songwriter gave the Leps’ huge hit the “full Tori Amos” treatment, or perhaps, you’re fond of Hayseed Dixie’s bluegrass take of ‘Photograph’, but for a multi-million selling band, reinterpretations of their work seem few and far between.
For even the greatest bands, there’s rarely such a thing as overnight success. This was certainly true for British prog band, Big Big Train. They spent the second half of the 90s and the early noughties recording independent albums that clicked with a small core of people, but remained largely hidden from the prog world at large. Works like ‘Goodbye To The Age of Steam’ and ‘Gathering Speed’ set out a rich musical stall that showed a love of Anthony Philips, and despite changes in line-up and sound, their music retained a very pastoral, very English heart that inspired all who heard it. Despite cult adoration, genuine success often seemed elusive; it wasn’t really until the release of their sixth proper album, 2009’s ‘The Underfall Yard’, that the band started to gain the kind of attention they’d long deserved.