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.
Tag Archives: prog
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.
GAZPACHO – Molok
Comprising extended arrangements and a deep concept, Gazpacho’s 2012 release ‘Demon‘ was an epic affair that eclipsed most of their previous works. With perhaps only ‘March of Ghosts’ in the same league, with their mixture of prog rock, folk and ambient sounds, ‘Demon’s floating soundscapes, set the band farther on the road to being one of the world’s best cult bands. Recorded with a surprisingly quick turnaround, barely eighteen months after that release, 2015’s ‘Molok’ is positively dark and joyless by comparison, a record possibly set to really test the fans. On first hearing, there are no real hooks, few memorable musical passages, just an hour’s worth of ambling oddness. Naturally, subsequent plays slowly unveil a patchwork of complex musical backdrops, with a couple of tracks closer in spirit to the earlier Gazpacho and something that eventually and somewhat grudgingly comes together as an other worldly soundscape for the dispirited, but to call ‘Molok’ a difficult listen would an understatement.
THE ROOM – Open Fire
In the 1990s, British progressive rockers Grey Lady Down released a few very enjoyable discs. Their second album, ‘Forces’, is one of the best cult releases of the era, chock full of fine music. With his slightly warbly vocal style, Martin Wilson often found himself in the “acquired taste” category, but if nothing else, his performances always made GLD’s work instantly recognisable.