A virtuoso of the acoustic guitar, Stuart Masters creates a sound that’s been likened to Nick Drake and Syd Barrett. It seems odd that so many artistes would be compared to Barrett, given that his rather scant post-Floyd output borders on the disturbing. Aside from just about managing to string a few chords together, Barrett could all too often be heard mumbling through nonsensical lyrics he seems to only barely remember. This fourth release from Masters, the wonderful ‘Mystic Blue & The Black Balloon’, is nothing like Syd. It’s sometimes possible to hear why comparisons have been made to Drake, however, for Stuart is very fond of a finger picked style and almost pastoral moods – but the combination of his dexterous playing, loops and layered approach to most things is sometimes closer in spirit to another guitarist…and one from more recent times. It might be fair to say that fans of Matt Stevens will find an instant kinship with Masters and his complex soundscapes.
Tag Archives: prog
HOGGS BISON – The Dog Party Call EP
Hoggs Bison are another of those bands that could fall into post rock or art rock categories, with the creation of instrumental canvases that are often too rooted in nineties climes to be labelled straight prog (if indeed there is such a thing). At the same time, they aren’t necessarily always busy enough to warrant a definite math rock tag, even though fans of that style could certainly enjoy this release. In other words, although their music has some obvious reference points, their chosen path isn’t always easy to categorise; but it might be fair enough to say that lovers of Slint, Sonic Youth and the quieter output of the mighty Fierce and The Dead could find a musical kinship with this Bristolian trio.
BEAR MAKES NINJA – Shenanagrams
Bear Makes Ninja released their second EP, the critically acclaimed ‘Shouting at Bridges‘, in 2012. From that point on, there was much talk of a full length release but nothing seemed to be happening very quickly on the recording front. Not that the band had been lazy; the next couple of years were taken up with numerous live performances and time spent sharpening the Leicestershire trio’s musical craft. Their long-rumoured full length finally appeared during the first quarter of 2016 and, for those already familiar with the off-kilter BMN style, does almost exactly as expected. There are times where an increase in production budget makes things seem a little more polished than before, but their angular math rock tunes and deliberately obtuse lyrics are still a far cry from easily digestible radio fodder. This, of course, is a good thing.
THE ROOM – Beyond The Gates Of Bedlam
At the end of 2012, UK melodic prog rockers The Room released their debut album ‘Open Fire’. Its mix of pompy melodic rock with proggy flourishes really struck a chord with some listeners and in the live setting, the band really excelled. Their level of professionalism was hardly surprising given the seasoned musicians involved (vocalist Martin Wilson and guitarist Steve Anderson had previous links with Grey Lady Down), but it was also good to hear a bigger focus on chorus based material, even if the band sometimes insisted on keeping a strong hold onto epic track lengths.
BILLY SHERWOOD – Citizen
In 2015, multi-instrumentalist Billy Sherwood found himself ahead of a rather daunting task. He was hand picked by his close friend, Mr. Chris Squire, to be the bass man for progressive rock legends Yes, after Squire – founder member and only constant – discovered his ongoing fight against leukemia would soon be lost. It was obviously a job he’d would rather not have, but given the circumstances, he was the most obvious and sympathetic choice. In many ways, the only choice. Sherwood’s links with Yes go back a long way, of course: he’d previously been involved with the band in an on/off role since the turn of the 90s, if anyone could fill the void and at least have half a chance of fan acceptance, it would be Billy Sherwood. Looking back even farther, Sherwood’s own music with Lodgic and World Trade had showed parallels with the more commercial sounds of Yes. The 1989 World Trade debut, especially, often sounded like the album Yes might have unleashed after ‘Big Generator’ had they continued along the shiny, techy, AOR-prog path.