All posts for the month September, 2019

The 14th LONG ONES SPECIAL to be produced by The Prog Mill for Progzilla Radio, first broadcast on 29 September, can now also be streamed on demand or downloaded. Just six epic proggy tracks in 2 hours.

Here’s Your Playlist

1 IQ – The Great Spirit Way (Resistance)
2 Hasse Froberg & Musical Companion – Parallel Life (Parallel Life)
3 Panther & C – La Leggenda di arenburg (L’epoca di un altro)
4 Lazleitt – A Furtive Shelter (Perpetually Under Idle Grounds)
5 The Windmill – TheTree (Tribus)
6 Gandalfs Fist – The Lamplighter Overture (The Clockwork Prologue)

You can hear The Prog Mill on Progzilla Radio at these times every week ( – via the tune in radio app and on internet radios):

Sundays 10pm – Midnight UK (2100UTC) – main broadcast
Tuesdays 0300-0500 UK (0200UTC) – For North America – Mon 7pm Pacific/10pm Eastern
Tuesdays 2300-0100UK (2200 UTC) – 1500 Pacific/1800 Eastern
Saturdays 6-8pm UK (1700 UTC) – Family friendly Saturday evening repeat

Your melodic and symphonic progressive rock music suggestions for the show are very welcome. Just email, or message via twitter @shaunontheair or

Back to normal on next weeks show with 2 hours of superb proggy sounds old and new including YOUR musical suggestions!

101 Dimensions Curated by Emma

Oops Almost Forgot this one!

Broadcast  28th September 2019

  • Tangerine Dream – Live at the Rainbow 1974 with intro from John Peel
  • Jon Hassell – Ravinia /Vancouver
  • Cosmic Jokers – Electronic Rock Zeitalter
  • Eno, Moebius, Roedelius, Plank -Langer Atem
  • Michel Hoenig – Hanging gardens Transfer
  • Paul Nagle – – Careful with that Bass Eugene
  • Cabaret Voltaire – Eastern mantra
  • Grobschnitt – Solar Music

Connect the dots and connect with 101 Dimensions via any of the Curators Cliff Anthony or Emma ,  or

Every Saturday night from Midnight UTC + 1 (BST) till late all music no chat Electronic Ambient and Progressive

 Repeated  as Ambient Afternoon on Friday 1:00 pm UTC + 1 (bst)

Subscribe for the Podcasts here



Broadcast 29th September 2019

·        Horsell Common & the Heat Ray Jeff Wayne
·        Lemon Pie Strawbs
·        Had To Cry Today Blind Faith
·        Skatin’ Poco
·        Living In Stereo Chilliwack
·        Heat Of The Sun Kenny Wayne Shepherd
·        Cisco Kid War
·        Too Many People Cold Blood
·        Fully Completely The Tragically Hip
·        What Would You Rather Bee or a Wasp Gary Moore
60’s British Blues 6-Pack  
·        Gin House Blues (Mono) The Animals w/Eric Burden
·        Lady Jane Rolling Stones
·        New York City Blues (Mono) The Yardbirds
·        Somebody Acting Like A Child John Mayall
·        Waiting In The Bamboo Grove Savoy Brown
·        Stevie’s Blues The Spencer Davis Group
·        I Need A Woman Josefus
·        Nightjar Necromandus
·        Will To Survive Hammerhead
·        Hi Roller Little Feet
·        Forbidden Fruit The Band
·        Over The Hills Robert Hunter
·        Uncle John’s Band Grateful Dead
·        Love Games  
·        88  
·        Looking For Someone Genesis
·        Harold Land Yes
·        Be Young You Jefferson Starship
·        Both Sides Molly Hatchett
·        China Town The Move
·        Nothing Is Easy Jethro Tull
·        The Inside Story Robben Ford
·        Lookin Out For Number 7 Tom Scott
·        Fingers Jimmy Smith
·        Hangman Hang My Shell On A Tree Spooky Tooth
·        White City Fighting Pete Townshend
·        Hungry Heart Bruce Springsteen
·        Devil’s Sidewalk Graham Parker & the Rumor
·        Operator (That’s Not The Way It Feels) Jim Croce
·        Taxi Harry Chapin
·        To The Last Whale 1) Critical Mass 2) Wind On The Water David Crosby / Graham Nash
·        Slippin Into Darkness War



If you want to get in touch with Alan about requests or the show please use

This news story was originally published here:

Like them or not, I suspect most of us have heard of Sons of Apollo. Just in case you’ve been too busy genning up on your ultra obscurities in the world of prog, they are a ‘super-group’, for want of a better description, comprising Mike Portnoy, Billy Sheehan, Derek Sherinian, Bumblefoot and Jeff Scott Soto. You can tell from that line-up the kind of thing they offer; technically proficient chest-beating metallic classic prog rock. If that sounds horrendous to you, you are excused for the remainder of this review! For those of you still here, as the title of the album suggests, this is a live album recorded at the iconic Bulgarian venue, the Roman amphitheatre in Plovdiv.

I confess that until my daughter and her partner announced that they were going to Plovdiv to see a special show a few years ago by Paradise Lost, I’d never heard of either the place or the venue! Since then, a few bands have played there and recorded live shows with an orchestra, so it seems to have established a bit of a reputation as a classy venue. So perhaps not a great surprise to find Sons of Apollo following this route. Or is it? On one hand, for a band who have released just one studio album only two years ago, it seems a bit of a bold move. In fact, any band recording live with only one self-penned album of songs to draw from is a bit odd in my opinion. Back in the day, most bands would record at least four or five studio sets before embarking on the obligatory live double surely? Well, obviously Sons of Apollo care little for convention. It does however beg the question, just who is this album aimed at? I can only imagine that people who bought the first album and saw them live on the subsequent tour would really be up for this. Anyone with a more passing interest would probably be put off by the sheer scale of what is on offer here, and might be better advised to check out the studio album.

OK, what else makes this album worth having? Well, the main reason has to be the one-off nature of the occasion. You have essentially the live show which those who have seen them will be familiar with, plus a second set featuring the Plovdiv Symphony Orchestra, and some hand-picked (by Mike Portnoy) covers of unimpeachable quality. The recording is excellent, production spot on, you’re there in the thick of it, missing not a second of the frankly thrilling experience. The playing and showmanship is top drawer, and the whole atmosphere is electric. I suspect they don’t get too many big rock shows in Bulgaria. The covers, in particular, are tremendous fun. No, they don’t beat the originals, of course not, but they’re fun and well-executed. We have Kashmir, Gates of Babylon, Dream On, Diary of a Madman and Comfortably Numb. These are over and above the other covers which they’ve been playing on the rest of the tour, such as And The Cradle Will Rock, The Prophet Song and the pair of Dream Theater songs. So to be clear, if you like the band, it’s a no-brainer, you simply buy this.

Now for a sense of balance, I have to say I have a bit of an issue with all the solo spots. In the context of a live show, and I mean actually being there, they make sense and are impressive. In the context of a live recording meant to be played over and again though, they soon start to bore. Now Billy Sheehan, for example, is simply a stunning bass player, there’s nobody else like him. But do I really want to hear a five-minute solo more than once or twice? Bumblefoot fares a little better on his Pink Panther theme solo spot, but Jeff Scott Soto’s Queen interlude, good though it is, just gets too much after a few listens. Sherinian’s keyboard solo is terrific but overlong at nearly nine minutes! To his great credit, Portnoy eschews the chance to take a drum solo, and I wonder if even he thought the solos had been overdone? Perhaps with a second album of proper songs to choose a set from, these party pieces might shrink or disappear? I’m not truly griping (well, just a bit) because you could hardly put out a live document of a special night without including everything, and when you immerse yourself in the whole show from start to finish, although exhausting, it’s an amazing experience. I just suspect that when listening to the audio on future occasions, I just might be hitting the skip button a few times, that’s all.

So, this isn’t likely to convert any naysayers or those not thus far interested, but for fans it is a superb document of a one-off show and an essential addition to your Mike Portnoy live album collection! The pedigree of the performers cannot be questioned, and the performance is huge and intoxicating. And long. Now I need a lie down while I wait for the next studio album.

01. God Of The Sun (11:56)
02. Signs of the Time (6:38)
03. Divine Addiction (5:14)
04. That Metal Show Theme (0:56)
05. Just Let Me Breathe Live (5:53)
06. Billy Sheehan Bass Solo (4:42)
07. Lost in Oblivion (4:45)
08. JSS Solo Spot: The Prophet’s Song/Save Me (9:33)
09. Alive (5:12)
10. The Pink Panther (4:31)
11. Opus Maximus (11:11)
12. Kashmir (9:35)
13. Gates of Babylon (7:48)
14. Labyrinth (9:24)
15. Dream On (4:53)
16. Diary Of A Madman (7:51)
17. Comfortably Numb (9:17)
18. The Show Must Go On (4:22)
19. Hell’s Kitchen (4:31)
20. Derek Sherinian Keyboard Solo (8:46)
21. Lines In The Sand (12:40)
22. Bumblefoot Solo Spot (2:38)
23. And The Cradle Will Rock (5:58)
24 Coming Home (9:32)

Total Time – 132:26

Mike Portnoy – Drums, Vocals
Derek Sherinian – Keyboards
Billy Sheehan – Bass
Ron “Bumblefoot” Thal – Guitar, Vocals
Jeff Scott Soto – Vocals
~ with:
Plovdiv Symphony Orchestra (dubbed “Plovdiv Psychotic Symphony” for the night)

Record Label: InsideOut Music
Formats: Ltd 3CD+DVD+Blu-ray | 3CD+DVD digipak | Blu-Ray | Digital album
Date of Release: 30th August 2019

Sons Of Apollo – Website | Facebook | Twitter

The Ancient One is again pleased to let everyone know that Show No 118 “The Concept Show Vol 6” is now available as a podcast. This show has 6 sections from concept albums, both old and new. Enjoy music from Ukraine, Germany, USA and UK.


1 The Nice – Brandenburger (Excerpt used as Intro taken from the 3cd boxset The Immediate Story)
2 Karfagen – Dragon Island Suite No 3 (Echoes From Within Dragon Island 2019)
3 Yacobs – The Time Machine Pts 1-6 (The Time Machine 2011)
4 Looking Glass Lantern – The Hound Of The Baskervilles Pt 1-5 (The Hound Of The Baskervilles 2014)
5 Spock’s Beard – Snow Pts 1-7 (Snow 2002)
6 Tim Hunter Living In A Looking Glass Pt 1-5 (Living in a Looking Glass 2019)
7 Jon Anderson – Olias Of Sunhillow Pts 6-14 (Olias Of Sunhillow 1976)
8 The Nice – Brandenburger (Excerpt used as Outro taken from the 3cd boxset The Immediate Story)

This news story was originally published here:

Some music seems to simultaneously come from the indefinable in-between places and yet also from far away, imbued with contrasting dark mystery and shimmering light. Strangers, the latest entrancing album from Rise, is born from those places.  Strangers shows a significant shift towards a far more improvisational and impressionistic style of song writing and performance for Rise.  Whilst her previous album, An Abandoned Orchid House, had hints of Alice in Wonderland whimsy and pastoral enchantments (albeit entwined with sinister overtones), Strangers is altogether more ethereal and darker in atmosphere.

18 months in gestation, Strangers marks the transition of ‘Talitha Rise’ into ‘Rise’, the new stage name for the talented Jo Beth Young, also signifying the cessation of Jo Beth’s previous writing and production collaboration with Martyn Baker. Rise has shared that the foundation for the songs on this album are all improvisations which she hones into ‘multi-faceted, deeply textured’ songs. This method of song writing means the songs seem strangely suspended somewhere between organic spontaneity and highly polished fully formed pieces. Layer upon layer of fine instrumentation and effects form the songs, repaying repeated listens as the songs take time to reveal their subtleties.

Rise has shared the inspiration behind the title track – she recalled a line from a David Gray song, Only the Lonely, that said, “And when we meet again we will be strangers”, echoing the underlying themes on this album of loss, triumph and healing:

“Come back, your hurt is always welcome here
Oh, fields of yellow disappear.
Great light
Give me some of your great light.”

The piece is soaked in sadness that the man she loved before the war has come back changed – there is such pain and yet so much love and healing. Rise’s voice swoops and swirls like a murmuration of starlings in the sky over gently chiming pianos, melancholic violin and atmospheric guitar lines. This is no conventional song with chorus and verse – this is more of a stream of fragile, inchoate emotion laid out on a subtly changing musical canvas. There is a very real sense that whilst ostensibly this may be a song about the impact of a soldier returning from war there are also parallels in Rise’s personal experiences. There is too much emotion in the song for it not to be rooted in her own heart.

The album starts ominously with the mysterious luminescence of Dark Cloud which reflects a realisation that one may have been through darker experiences than one previously realised, as Rise’s voice, full of pain, sings “We’re all dancing with death, the cold hand of truth” over Helen Ross’s emotional violin… but there is light in the darkness and hope in the conclusion “You’re coming back real soon”.

The following Temples is more conventional in form with a powerful repetition of lines about sacrifices in the temples we make for ourselves played over Ross’s sorrowful violin, Ric Byers echoing softly played eerie percussion and eventually a subtle electric guitar effect. Temples is hypnotic and almost hymnal in nature.

Jo Beth Young has suggested Cry Back Moon is “Earth’s love letter to the Moon” and recently said at a gig that it felt like “Snow at night on Dartmoor”, which seems like a perfect description for this beautiful song. Her strong voice soars above the gently tripping piano and Ross’s violin floats in and around her voice like some sort of mating lovebird.

The ambient soundscapes are particularly pronounced on Burnt Offerings, which Rise wrote to “all of us misfits belonging together, those of us that still think life can be lived differently, more kindly, more honourably and more wisely than we are commonly led to believe…”, which sadly seems more timely than ever. Skysailing features the entrancing violin skills of Helen Ross as her swallow-like music soars and swoops over the song, whilst Ben Roberts’ beautiful cello notes anchor us as we look skywards.

This an album soaked in atmosphere with a strong sense of a connection to the landscape. Rise reveals she wrote some of it in a 600-year-old Welsh farmhouse and rural Ireland, and you can hear the ghosts and spirits of those locations deep within the notes and words.

Rise describes the title song Strangers and concluding The Old Woman’s Sewing Song as the “anchors of the album”, in which she wanted to try something “different and free”. Old Woman’s Sewing Song lasts over 9 entrancing minutes, starting with an extended gentle, tentative piano and then rising with hypnotising notes from Helen Ross on violin:

“I’m just the one who sews the leather, I’m just the one who holds it together
Hold on, hold on, hold on, hold on…”

This is a heart-breaking and beautiful song and there is no mistaking that these stories, these emotions very much pour from a woman’s perspective and heart.

If you’re looking for an album of songs with conventional forms and catchy choruses or ‘earworm’ hooks you may be looking in the wrong place. If you’re wanting to break free of those forms and immerse yourself deeply in intuitive, emotional, unpredictable and ethereal music with elements of folk, rock and art-pop then dive right in. It’s worth sticking with as the music reveals itself over time more and more.

Strangers is a special piece of work written from the heart but played with consummate skill. It’s really hard sometimes trying to put some things into words. This is music and words that feel like they were formed in that semi-conscious ‘in between’ world of being half awake / half asleep as we awake… a state of mind that feels almost out of reach but is filled with half formed bittersweet emotions.

Maybe that’s nonsense… sometimes words just do not say enough and that’s why we need music. Strangers says it all so it beautifully.

01. Dark Cloud (5:07)
02. Temples (5:17)
03. Strangers (6:32)
04. Cry Back Moon (5:00)
05. Burnt Offerings (6:28)
06. Rabbit Eyes (3:26)
07. Radio Silence (5:37)
08. Skysailing (4:15)
09. The Old Sewing Woman’s Song (9:11)

Total Time – 50:53

Rise (aka Jo Beth Young) – Vocals, Pianos, Guitars, Stringed Things, Arrangement
Peter Yates – Electric Guitars, Ebow, Keyboards, Radio Sounds
Jules Bangs – Bass
Matthew Rochford – Electric Guitars, eBow
Helen Ross – Violin
Ben Roberts – Cello
Ric Byer – Drums
Matt Blackie – Beats, Programmed Drums, Synths
~ with:
Cleo the Dog – Barking (track 5)

Record Label: Wise Queen Records
Country of Origin: U.K.
Date of Release : 18th October 2019

(Released under former name of ‘Talitha Rise’)
– Blue EP (2017) (originally released in 2014)
– An Abandoned Orchid House (2018)
(Released under current name of ‘Rise’)
– Strangers (2019)

Rise – Website | Facebook | Bandcamp

This news story was originally published here:

I think as reviewers we sometimes have the tendency to discount our initial gut reactions and instead go directly to dissection and study. Only a couple minutes into my first listen to advance single Hjärtat Vet Vad Handen Gör I found myself saying aloud to my empty apartment, “Opeth sounds like Opeth again”. No matter how intensely I’ve examined this album in the ensuing weeks, I keep coming back to that first involuntary exclamation.

So, what is triggering that response? It has more to do with the mood and overall feel of the material on In Cauda Venenum than the sonic element. While you won’t hear the modern crunchy guitar sounds or the harsh vocals circa Deliverance or Ghost Reveries era, you will hear the underlying character of what made that material so special and so distinctly Opeth. The more analogue instrumental approach of the past three albums remains, but Mikael has recaptured that “dark beauty” element which has been mostly absent for a decade. Pick your favourite descriptive cliché; Gothic, romantic, ethereal, heavy (and “heavy”) and it aptly applies.

Primarily, what I hear is confidence, a band who has rediscovered how powerful they can be and they’re having a fucking blast with it. That assuredness is something that has been lacking of late as they’ve been a little trepidatious in their approach on recent albums. Heritage (2011), Pale Communion (2014) and Sorceress (2016) are all enjoyable in varying degrees and there are some fine tracks scattered amongst them, but taken as a whole they all sound like transitional releases. In Cauda Venenum sounds like the destination.

The audacity of the arrangements is immediately evident on the opening salvo of Sveket Prins and the aforementioned Hjärtat Vet Vad Handen Gör. The former is a beautiful marriage of Queen-like bombast and Sabbath dirge and the latter is a galloping rocker with some fun twists, like a brief thrash-metal bridge, an avant-garde keyboard improvisation and a moody acoustic coda. Somehow all this meshes together seamlessly and makes for a powerful introductory segment.

Herein the journey gets darker and deeper. De Närmast Sörjande is the perfect example of the “dark beauty” element I was referring to earlier. It begins as a dirge, rendered simultaneously menacing and dreamlike, and after a tasteful acoustic guitar interlude it builds to a lyrical crescendo that’s one of Opeth’s most impressive moments. You can hear a condensed version of Opeth’s journey here, as wisps of the past float in and out and signposts of potential futures appear.

If you haven’t figured it out by now, I’m reviewing the original Swedish language version of In Cauda Venenum. In my opinion it was more important to hear the original intent than delve into the lyrical content.

Minnets Yta is an unapologetically huge, lighters-in-the-air power ballad that walks the tightrope beautifully, never slipping into schmaltz. Like all respectable examples of this sub-genre it of course features an extended, emotive guitar solo. But before you commence rolling your eyes, take a listen to what Fredrik Åkesson lays down here, especially the commentary under Mikael’s vocal line in the final segment. Fredrick really comes into his own on this album and is the primary soloist throughout.

It’s at this juncture we enter the most impressive section of the album, a three-song cycle that’s as effective as any in Opeth’s catalogue.

Charlatan is raucous, joyous fun; a low-end ass-kicker driven by Martin Méndez’s impossibly-tuned bass guitar. This insane mash-up of prog, fusion and a pinch of funk is a new avenue for Opeth that I hope is explored further in the future. There’s a hint of the Sorceress sound in this track, but a superior outcome.

Ingen Sanning Ar Allas is a touchstone moment in Opeth’s progressive rock journey. A dynamically rich composition, impeccably arranged, it functions as the culmination of the experimental tangent they’ve been on since Heritage. But here, as elsewhere on the album, the emotional connection is much stronger, the experience more impactful. Mikael’s vocal performance on this album is easily his most impressive to date and the complexity and layering of the harmonies demonstrate he’s still adding to his skills and honing his arrangements a quarter-century into his recording career.

Next up is my personal favourite. Banemannen is a jaw-dropping concoction; a slinky jazz number overlaid with eastern tonalities that features the most impressive of several string arrangements on the album. I love the intro that begins with solo flamenco guitar that abruptly switches to solo jazz piano, it’s a nice touch that adds drama at the onset. One of the bonus cuts from the Sorceress album (and coincidentally my favourite song from those sessions) was a jazzy number called The Ward that sounds like the precursor to this song. What really makes it work is the playful approach, there’s just enough of a nod and a wink to sell it.

The strong final numbers, Kontinuerlig Drift and Alting Tar Slut (no giggling) function as one epic, melancholic concluding statement. You win bonus points if you can pick out the homage to Megadeth’s Hanger 18 in the latter track.

As is naturally the case with any band that has been around for 25 years, it’s safe to assume we’re in the latter phase, even Mikael Åkerfeldt admits he approaches each new Opeth record as being potentially the last. Yet based on the results, this album gives no indication of a band winding down in their career. In Cauda Venenum is a statement album, one of Opeth’s very best and that achievement is even more impressive considering it’s album #13 in their discography. Long may they reign.

01. Livets trädgård (Garden of Earthly Delights) (3:29)
02. Svekets Prins (Dignity) (6:35)
03. Hjärtat Vet Vad Handen Gör (Heart In Hand) (8:30)
04. De Närmast Sörjande (Next of Kin) (7:08)
05. Minnets Yta (Lovelorn Crime) (6:34)
06. Charlatan (5:29)
07. Ingen Sanning Är Allas (Universal Truth) (7:21)
08. Banemannen (The Garrotter) (6:44)
09. Kontinuerlig Drift (Continuum) (7:23)
10. Allting Tar Slut (All Things Will Pass) (8:31)

Total Time – 67:53

Mikael Åkerfeldt – Guitars, Vocals
Fredrik Åkesson – Lead Guitar
Martin Méndez – Bass Guitar
Joakim Svalberg – Keyboards
Martin “Axe” Axenrot – Drums

Record Label: Moderbolaget Records / Nuclear Blast Records
Country of Origin: Sweden
Date of Release: 27th September 2019

Opeth – Website | Facebook | Twitter

This news story was originally published here:

The upcoming first solo album by Fates Warning vocalist Ray Alder“What The Water Wants” – will be released worldwide on October 18th, 2019 via InsideOutMusic.

Today marks the release of the album’s second single “Crown Of Thorns”. You can check it out in a video clip directed by Manuel Giménez / MG Media Productions here:

Ray Alder checked in with the following comment about the song: “In doing a solo album I wanted to try and write songs that I wouldn’t normally do with Fates Warning. I wanted to show a different side of what I’m about vocally. This song “Crown Of Thorns” to me is sort of an homage to the 70’s singers and bands I Iistened to while growing up, where a lot of the focus was on the melody. From the very beginning I found this song super interesting because of the bass line that repeats throughout the entire song. Everything is written around it, so that the melody of the vocals has to flow around it as well. This is one of my favorite tracks from the solo album, and not just because it is so different.

Ray Alder’s “What The Water Wants” album includes 10 melodic and versatile songs created with assistance from guitarists Mike Abdow (Fates Warning touring member) and Tony Hernando (Lords Of Black) as well as drummer Craig Anderson (Ignite, Crescent Shield). The album was mixed by Simone Mularoni (Rhapsody, Michael Romeo, DGM).

The album’s first single “What The Water Wanted” can be seen here:
Or stream it on Spotify here:

This is the complete tracklisting of the album:

RAY ALDER – “What The Water Wants”
1. Lost
2. Crown Of Thorns
3. Some Days
4. Shine
5. Under Dark Skies
6. A Beautiful Lie
7. The Road
8. Wait
9. What The Water Wanted
10. The Killing Floor
11. The Road (Acoustic Version) * Bonus Track

Ray Alder’s “What The Water Wants” will be available as limited first-pressing Digipak CD with a bonus track (An acoustic version of “The Road”) and as LP on 180gr. vinyl with the full album on CD as bonus.

You can pre-order the album in its various formats starting today here:

RAY ALDER online:


Northern Star 26th September  2019

Random Shards of Thought!

Theme Pallas – Northern Star

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This news story was originally published here:

Legendary guitarist Steve Hackett is currently in the middle of his North American tour performing his favourite Genesis album ‘Selling England by the Pound’ together with songs from his solo ‘Spectral Mornings’ album, celebrating its 40th anniversary, and tracks from the current album, ‘At the Edge of Light’. Now, he presents another clip from the forthcoming live release ‘Genesis Revisited Band & Orchestra: Live’, Steve comments: “I think this is the most powerful version of ‘The Steppes’ so far. The combination of group and orchestra sounds like “Iron Man Cometh”…An unstoppable force.

Watch the clip here:

‘Genesis Revisited Band & Orchestra: Live’ will be released on 25th October 2019 via InsideOutMusic, this release will be available as 2CD + Blu-Ray digipak and 2CD + DVD Multibox internationally, and 2CD + Blu-Ray + DVD in North America.

The album was recorded on 5th October 2018 at The Royal Festival Hall, London, during the  2018 Genesis Revisited Tour which fulfilled a long held ambition of Steve’s: to perform the music of Genesis with a live orchestra. The concert featured Steve’s regular touring band of Roger King (keyboards), Gary O’Toole (drums/percussion), Rob Townsend (saxes/flutes) with Nad Sylvan on vocals and Jonas Reingold (The Flower Kings) on bass, together with special guests John Hackett and Amanda Lehmann, and augmented by the 41-piece Heart Of England Orchestra conducted by Bradley Thachuk.  

Pre-orders for ‘Genesis Revisited Band & Orchestra: Live’ are available below:
Band store:   
InsideOutMusic store:
Buy / Stream / Download:

Set 1:
Dance On A Volcano
Out Of The Body
The Steppes
Firth Of Fifth
Dancing With The Moonlit Knight
Blood On The Rooftops
Shadow Of The Hierophant

Set 2:
In That Quiet Earth
Serpentine Song
El Niño
Supper’s Ready

The Musical Box

The Blu-Ray also includes a behind the scenes documentary plus promotional videos for ‘Under the Eye of the Sun’, ‘Beasts in our Time’ and ‘Peace’ from the ‘At the Edge of Light’ album as extra!

Right after his North American tour, Steve Hackett will return to the UK in November with many shows sold out already, please visit for a full list of upcoming dates and ticket information.

STEVE HACKETT 2019 Genesis Revisited – touring ‘Selling England by the Pound’ & ‘Spectral Mornings’ & album highlights
2 November – Waterside, Aylesbury, UK – * SOLD OUT *
3 November – Leas Cliff Hall, Folkestone, UK – * SOLD OUT *
5 November – City Hall, Sheffield, UK
6 November – Corn Exchange, Cambridge, UK
8 November – De Montford Hall, Leicester, UK
9 November – St. David’s Hall, Cardiff, UK – * SOLD OUT *
11 November – Philharmonic, Liverpool, UK – * SOLD OUT *
12 November – Dome, Brighton, UK
13 November – Guildhall, Portsmouth, UK
15 November – City Hall, Salisbury, UK – * SOLD OUT *
16 November – Hexagon, Reading, UK – * SOLD OUT *
18 November – Symphony Hall, Birmingham, UK – * SOLD OUT *
19 November – Barbican, York, UK
20 November – Forum, Bath, UK
22 November – Victoria Theatre, Halifax, UK
23 November – The Sage, Gateshead, UK – * SOLD OUT *
25 November – Usher Hall, Edinburgh, UK
26 November – Bridgewater Hall, Manchester, UK – * SOLD OUT *
27 November – Cliffs Pavilion, Southend, UK
29 November – Hammersmith Eventim Apollo, London, UK