All posts for the month July, 2020

This news story was originally published here:

I was introduced to Griot by way of another Portuguese band, Esfera. I had been hugely impressed by the latter’s 2016 album, All the Colours of Madness, so when I heard Nuno Aleluia would be providing the vocals for Griot’s Gerald (released later in the same year), I was immediately onboard. Griot is essentially the duo of João Pascoal and Sérgio Ferreira, with a number of guest musicians, but there’s no doubting the impact that the huge contribution of Aleluia made (at least, with me). Elisabeth is apparently a continuation and conclusion of the story begun with Gerald, but obviously this time around with a female protagonist, which means a change on vocals. This time, the vocals are provided mainly by Maria Branco.

I’m going to get this out of the way quickly, because it is my only real criticism of the album – and it’s one that may not be shared by many – but, as beautiful a voice as Branco has, it just doesn’t seem to me to have the versatility that Aleluia had. Branco’s vocals suit the more delicate and jazzy passages, but don’t seem quite powerful enough for the heavier passages, seemingly unable to match the edge and passion of the music. I’m not sure if I would make this criticism if I were not comparing Elisabeth with Gerald, because I do very much like Branco’s vocals. They just seem, I don’t know, lacking at times. It’s not quite a mismatch between the vocals and the music, but at times it comes close for me.

It’s also hard not to compare Elisabeth with Gerald, as the two are clearly meant to be a pair, and two sides of a story. One thing I love is the way the artwork of Elisabeth mirrors that of Gerald. The protagonist views a scene from on high, Gerald looking down on an urban landscape at night, and Elisabeth looking down on a rural landscape during the day. And even though there have been a few years between the albums, the sound is very similar. I do find Elisabeth to have a superior mix to Gerald, though. Although each instrument still is clear in the mix, they blend more naturally. I found, for instance, the drumming a little hard on the ear on Gerald (and this is coming from someone for whom the drums are usually the favourite instrument to hear), but they are far better placed in the mix on Elisabeth, which makes them far easier to appreciate and enjoy – and so they should be, because Sérgio Ferreira plays a mean beat!

In fact, on Elisabeth, as on Gerald, percussion is the first thing that one hears. And, lest it seems otherwise based on what I’ve just said, I was immediately impressed by the drumming on Gerald. I merely found it’s place in the mix a little wearing over time. There are no such issues with Elisabeth, so I’m able to enjoy the drumming throughout. In general, I think I can safely say that I prefer the vocals on Gerald, but I prefer the music on Elisabeth. And given that there is more music than vocals, and a lot more of both on Elisabeth than on Gerald (this album being almost twice the length of the last), I’d be hard pressed not to admit that Elisabeth is a more enjoyable album than Gerald – something I would never have expected when I first listened to it.

While Griot are Portuguese, the bands I’m most reminded of are Italian. Their heavy and jazzy grooves remind me of modern bands such as Karmamoi and Unreal City. The band have moments of bombast, but excel in softer, more contemplative pieces too. Griot come across as confident and ambitious, and throughout both their albums show a quite brilliant blend of technicality and melody. The music is symphonic and sophisticated, but also smooth and accessible – heavy, but never too heavy; jazzy but never too jazzy.

One aspect of both albums that I particularly appreciate is the use of guest musicians to provide orchestration (strings, brass and woodwind) where it would perhaps have been easier to simply program these sounds. There is a real fullness of sound that is lacking in other albums, where real instruments have not been played. Even better is that the orchestration has not been placed overly high in the mix, where it can overwhelm or distract from the main instrumentation. It adds to the instrumentation of Pascoal and Ferreira, rather than taking over or taking the place of it. That said, some of my favourite moments on the album are provided by these guest musicians. Paulo Bernardino (clarinet) and Arnaud António (sax) especially give me goosebumps when they appear.

Like Gerald, the music of Elisabeth is broken into five chapters. With a longer running time, each of these chapters has been broken into two parts. It was impressive how much diversity Griot were able to bring into each chapter on Gerald, so it’s unsurprising that with greater length, there is greater opportunity for some powerful and impressive arrangements. The absolute stand out track for me is Unearthing the Past, but there’s not a dud track on this album. Despite any initial concerns, and one remaining criticism, this album has thoroughly impressed me. It has far exceeded any of even the most optimistic expectations I might have had for the album. With this story complete, the slate is now clean for the next Griot masterpiece – and I can’t wait!

01. A Weak Foundation (Chapter I, Pt.I) (6:52)
02. Lights Out (Chapter I, Pt.II) (5:00)
03. Atonement (Chapter II, Pt.I) (7:48)
04. Retrospection (Chapter II, Pt.II) (4:17)
05. Intertwined (Chapter III, Pt.I) (6:15)
06. Unearthing the Past (Chapter III, Pt.II) (6:32)
07. Parted Ways (Chapter IV, Pt.I) (4:27)
08. Making Amends (Chapter IV, Pt.II) (8:00)
09. The Leap (Chapter V, Pt.I) (9:14)
10. Introspection (Chapter V, Pt.II) (4:14)

Total Time – 62:37

João Pascoal – Bass Guitar, Electric Guitar, Programming
Sérgio Ferreira – Drums, Percussion, Programming
~ with:
Maria Branco – Vocals (tracks 1-9)
João Rodrigues – Vocals (tracks 2,3,5,8,10)
Mariana Moreira – Backing Vocals (track 4)
Matilde Esperança – Violin (tracks 1,3,6,9,10)
Pedro Marques – Violin (track 9)
Luzia Lapo – Violin (tracks 1,3,6,9,10)
Isaac Santos – Violoncello (tracks 1,3,6,9,10)
Paulo Bernardino – Clarinet (tracks 3,5,6)
Arnaud António – Alto Saxophone (tracks 6,9)
André Loureiro – Flute (tracks 1,9)
João Baião – Acoustic Guitar (tracks 1,2,3,6,8,9)
Gonçalo Crespo – Electric Guitar (tracks 1-9)
Bruno Lousada – Electric Guitar (tracks 1,2,3,5,6,7,9)
Pedro Joaninho – Electric Guitar (track 5)
Vikram Shankar – Keyboards (tracks 2,3,9,10)
Mario Yetatore – Keyboards (tracks 1,3,4,6,8,9)
Bosco Aguilar – Keyboards (track 8)

Record Label: Independent
Country of Origin: Portugal
Date of Release: 2nd June 2020

Griot – Facebook | Bandcamp | YouTube

This news story was originally published here:

The Tangent, the progressive rock group led by Andy Tillison, recently announced the release of their 11thstudio album ‘Auto Reconnaissance’ on the 21stAugust 2020. The follow-up to 2018’s ‘Proxy’, sees them continuing the band philosophy of celebrating the golden age of prog, whilst bringing it to the present and exploring new paths for the music to take in the future. On ‘Auto Reconnaissance’, they bend that philosophy to their will, taking in prog rock foot stomping, sublime Jazz, humour, narrative, a modern R&B love song, funk/soul and a 28 minute long emotional epic about the band’s home country of England.

Today they launch the video for ‘The Tower Of Babel’, filmed with each member remotely. Watch it now here:

Andy comments: “’The Tower Of Babel’ is a new field of work for The Tangent, a real attempt to do the kind of highly complex popular song that Steely Dan excelled at. It seeks to appeal at as many levels as possible whether for the subtle chord structures, instrumental solos or for the catchiness of the choruses. It’s probably the first time the band ever wrote something with a specific view to it being a “single” release. In the end, the four minute song took longer to write than either of the two epics that it shares the album with. The song is a humorously cynical look into the way technology has helped Bureaucracy become even more invasive in our lives, from “Tick The Box” job application forms – to directed advertising – via phone calls which tell you to “use the website instead”.”

You can also check out the first single, titled ‘Life On Hold’, here:

‘Auto Reconnaissance’ will be available as a limited CD Digipak, Gatefold 2LP + CD + LP-Booklet and as a digital album. Pre-order now here:

Andy comments: “I utterly refuse to accept that Progressive Rock Music is some kind of museum piece. It is actually a living and breathing movement that has a past, a present and above all, a future. It once had an album-chart-topping golden age, but the genre was never about that. It has subtly and virally kept itself alive for decades where many new musical genres have risen to glory and faded away.”

For this release, Andy is once again joined by long-time collaborators Jonas Reingold, Luke Machin (who co-produced the album with Andy), Theo Travis, and Steve Roberts. Together they bring to life an album that has been influenced by the likes of ELP, The Isley Brothers, Steely Dan, Aphex Twin, National Health, Rose Royce, Squarepusher and Return To Forever amongst others. 

Andy comments of the current line-up:“In the past 6 years the line-up of The Tangent has become more stable than at the beginning. I think that the identity of the Tangent as a “Group” rather than a “Project” started to come together on the album ‘A Spark In The Aether’ in 2014. Essentially Luke, Jonas, Theo and myself have appeared on the last four albums, and we added Steve Roberts for the tour that supported ‘Slow Rust’ in 2017 and we’ve settled on this line-up. I hope for a while because I find this unit to be productive, in tune with the band’s purpose and manifesto and a lot of fun to boot. The new album ‘Auto Reconnaissance’ is the first time that the core band has been identical in structure to its predecessor. For the first time I feel that everyone is totally onboard with the fusion of Jazz, Prog, Punkishness and electronica that The Tangent likes to cook up. We are a good group of friends and although we don’t meet up often, it’s a real blast when we do. I’ve always considered Ed Unitsky the cover artist to have been a recurring member of the cast – his artwork has been a huge part of our story and although we move away, we always return.”

‘Auto Reconnaissance’ will be available as Limited CD Digipak (incl. bonus track), Gatefold 2LP + CD + LP booklet & as Digital Album, all featuring the artwork of Ed Untisky, whose visuals have not been seen on a Tangent album ince 2014’s ‘A Spark In The Aether’. The full track-listing can be found below:

1. Life On Hold
2. Jinxed In Jersey
3. Under Your Spell
4. The Tower Of Babel
5. Lie Back & Think Of England
6. The Midas Touch
7. Proxima (Bonus Track)

The Tangent are the following players:
Andy Tillison – Vocals, Lyrics, Keyboards, Composer
Jonas Reingold (The Sea Within, Steve Hackett Band) – Bass Guitar
Theo Travis (Soft Machine, David Gilmour, Travis-Fripp) – Sax & Flute
Luke Machin (Maschine, Francis Dunnery Band) – Guitar
Steve Roberts (David Cross Band, ex Magenta, Godsticks) – Drums

The Tangent online:


This news story was originally published here:

Sweden’s Pain of Salvation move another step closer to the release of their upcoming new studio album “PANTHER”, due out August 28th, 2020 worldwide via InsideOutMusic.

Today, the Progressive Metal/Rock innovators launch their new single “RESTLESS BOY”, to be checked out in stunning video scripted/directing by Lars Ardarve and Daniel Gildenlöw and filmed/edited by Lars Ardarve, to be seen here:

Pain of Salvation’s Daniel Gildenlöw commented about the song and video as follows:

We are happy and proud to present to you our newest video, for the song ‘RESTLESS BOY’, our second single from the upcoming album ‘PANTHER’. Once again, we have worked together with the wonderful and skilful Lars Ardarve, and we had a great time, as always. It’s so rewarding to work together with someone who you know so well since way back and with whom you share a similar mindset and creative drive, and we are all so happy with the result. 

Since the video also includes a stage setup, we got to hook up with our amazing crew for the first time in way too long, so it was in many ways the closest we have come to touring this year. Just as with the ‘ACCELERATOR’ video, we shot parts of this video in Skjulstahallen (Eskilstuna), and want to send lots of love and kudos to Lotta Nilsson at IKEG for helping us to arrange this! 

‘RESTLESS BOY’ may not be the most expected or given second single, but it felt important to give it that space, because of all that it is. And despite it’s few components, it is a grower. Live with it for a while and you’ll see. Also, it was a song for which a video idea just came to me so naturally. A video where every scene would be a play with time and speed. Experienced time versus reality. That feeling that has been with me through my entire life – that time is emotionally flexible and suddenly just bends around your mind and thoughts.

You see, ‘RESTLESS BOY’ is about myself and everyone else out there who feel that we are going through life at a different speed than our contexts and surroundings. Passion oriented people who daydream and shift pace depending on situation. F1 cars failing to meet the expectations of our small suburban community. Goal rationalists in a method rationalistic system. Panthers in a dog’s world. 

This song grew out of the song ‘Full Throttle Tribe’, just like the entire ‘PANTHER’ album did in many ways. The tribe that fills every page of every history book that you have ever read. The spectrum people. The brilliant, the crazy, the fools, the gifted and the troubled. The beautiful restless boys and girls!

The filming was intense and a lot of fun. Long hours and very little sleep. I specifically remember the second day of filming, when we shot all the scenes in the car with Léo driving. I had edited a version of the song that went to half speed between every vocal phrase, so that we could speed up the video between phrases. I heard that odd version of the song so many times that it increasingly started to feel like the normal version. (Lars actually got very hooked on that version, so I might have to make him a special mix.) Anyway, after a long day of sitting in the car and singing while we passed by the different scenes we had set up with Sandrian and Gabriel in dog masks outside the car window (they likely did not feel all that comfortable standing in dog masks in central Eskilstuna, holding an umbrella, but they were troopers), we needed some city night shots, so we headed for Stockholm. I still wonder what that one pedestrian was thinking, looking into our car as we stopped at a red-light well past midnight and I was throwing myself back and forth in the backseat wearing a german shepherd rubber mask that I was apparently trying to get off. Whatever he was thinking, he is probably still thinking it. That’s simply not one of those images you can get off your retinas easily. 🙂

We really hope you like this video – we do, and we are very proud of it. We can’t wait for the world to ease back into something close enough to normality for touring to be possible again. Meanwhile, find comfort in these videos/singles and the upcoming album, and know that due to the lack of touring, a silver lining is that we can keep writing and recording even more new music for you all. Until we meet the next time!”

Previously, the album’s opening track/single “ACCELERATOR” was launched in a video, also scripted/directing by Lars Ardarve and Daniel Gildenlöw and filmed/edited by Lars Ardarve, here:

“PANTHER”, the follow-up release to 2017’s “In The Passing Light Of Day” album, was recorded, mixed and produced by Daniel Gildenlöw with Daniel Bergstrand (In Flames, Meshuggah, Devin Townsend) and comes with a comprehensive artwork-theme with illustrations made by André Meister.

Pain of Salvation – “PANTHER”:
6. FUR

Next to the standard CD and the Digital Album formats, ”PANTHER” will also be available as limited 2CD Mediabook (Including expanded artwork and the following 4 bonus tracks on a separate disc: “PANTHER (demo)”, “KEEN TO A FAULT (demo)”, “FIFI GRUFFI” and “UNFOREVER”) and as 180g. Gatefold 2LP (Including the 4 bonus tracks on Side D and album on CD as bonus), in the following variations:

Black vinyl – Unlimited
Deep blood red vinyl – 100x copies from IOM Webshop Europe (Sold out!)
Transparent blue vinyl – 300x copies from CM Distro
Transparent green vinyl – 200x copies from EMP
Lilac vinyl – 200x copies from JPC
White vinyl – 200x copies from Pain of Salvation (Sold out!)
Transparent yellow vinyl – 100x copies from Pain of Salvation (Sold out!)

The pre-order for “PANTHER” in its various formats is started today here:

“PANTHER” album trailer:
Look out for more news about Pain of Salvation and “PANTHER” soon…

Pain of Salvation line-up:
Daniel Gildenlöw – lead vocals and lots of stuff
Johan Hallgren – guitar and vocals
Léo Margarit – drums and vocals
Daniel Karlsson – keyboards, guitars and vocals

Pain of Salvation discography:
Entropia –1997
One Hour by the Concrete Lake – 1998
The Perfect Element, Part I – 2000
Remedy Lane – 2002
12:5 – 2004
BE – 2004
BE DVD – 2005
Scarsick – 2007
Ending Themes DVD – 2009
Linoleum EP – 2009
Road Salt One – 2010
Road Salt Two – 2011
Falling Home – 2014
Remedy Lane Re:visited (Re:mixed & Re:lived) – 2016
In the Passing Light of Day – 2017
PANTHER – 2020

Pain of Salvation online:

InsideOutMusic online:

Northern Star 30  July 2020.

Births Deaths ‘n’ …

Theme Pallas – Northern Star

  • Frankie Goes to Hollywood- Welcome to the Pleasuredome
  • Steve Vai –Deep down pain
  • Amy Birks – Jamaica Inn
  • Rush – The Necromancer
  • Nova cascade – A Dictionary of Obscure sorrows
  • The Fierce and the Dead – Spooky Action
  • Acolyte – No time to die
  • Pat Travers – Call me the breeze
  • Bent Fabric – Alley Cat
  • Trevor Horn – Blue Monday (Feat. The Sarm Orchestra And Rev Jimmie Wood)
  • Linea Aspera – Preservation Bias
  • Shatterglass – Me VRS U
  • Kate Bush – This Woman’s Work
  • Broken parachutes – Bad Politics
  • Gandalf’s Fist – The Bewildering Conscience of a Clockwork Child
  • Fleetwood Mac – Oh Well
  • Coreign – The first and last
  • Jump – The automated modern fool
  • Epitaph – Sympathy
  • OGD – Out in the west
  • Joost Maglev- Dimensions
  • Tiger Moth Tales – The Mighty Fallen
  • The Enid -Judgement Day – region

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This news story was originally published here:

In years to come 2020 will always be regarded as a remarkable year, forever associated with the Covid 19 virus and its strange impact on society. However, it will also be a year in which the ‘Lockdown’ period has inspired great creativity as artists react to the tumultuous events. Peter Jones has done just that with his unexpected mini-album Still Alive. He had been expecting to release a piano/vocal album, but for various reasons that has been delayed. Into that vacuum, from his own home, Pete has poured out his own unique musical voice into a remarkable release that bears comparison with his classic debut 2014 album Cocoon. As if that was not enough, White Knight Records have decided to release Still Alive with a great live DVD recorded with the Tiger Moth Tales band a couple of years ago at the legendary Rockfield studios near Monmouth.

The title song, Still Alive, has already gained considerable attention on social media with a touchingly amusing video, by Mark Wardle and Chris Jones, showing members of Peter Jones’ village and Tiger Moth Tales fans all showing positivity in the face of Lockdown (the video is a welcome bonus feature on The Quiet Room live session). This is a delightfully melodic song full of folksy observations of life in the village, “Queuing by the chip shop, waiting by the post box”, and conveys the same sense of warmth conveyed in the Tiger Moth classic A Visit to Chigwick (and that connection is hinted at in the Still Alive video, with a subtle nod to the clever Trumpton-based video Chris Jones made for Chigwick). A beautifully picked acoustic guitar intro sets up Pete’s resonant vocals before a Melodica emphasises the folk-infused vision of the people in his neighbourhood. A lovely Irish whistle passage presages a brief emotional nod:

“To those that didn’t make it, Even though you’re gone,
You’re still here in our memories, Your spirit still lives on”

If there’s a better song which has arisen during Lockdown then I have yet to hear it. Credit must go to Pete’s good friend Mark Wardle who suggested Pete should write a song for their village in these troubled times. It’s simple and heartfelt, and at the same time it’s one of the best songs Peter Jones has ever released.

One could be forgiven for thinking that this piece would usher in a whole record of similarly folksy and possibly sentimental observations, but things are never quite that straightforward for Tiger Moth Tales. The imaginative artwork tellingly juxtaposes images of pollution and decay with pastoral perfection, portraying both the darkness and light suffusing this album. As Pete explains in the sleeve notes:

There are different moods in the songs, inspired by my own alternating feelings. From visions of a doomed world and a growing tone of madness, to a desire to see the positives and the spirit of endurance and survival. Hopefully the message is ultimately an uplifting one and will resonate with others.

This tension and balance is most skilfully displayed in the clearly linked and segued pieces The Mighty Fallen and Golden. After the pastoral idyll and positivity of Still Alive, we are immediately flung into the much darker world of The Mighty Fallen with a keyboard fanfare reminiscent of Frost*, showing Pete’s skills on the keyboards. As the title suggests, there is a sense of impending destruction in this instrumental piece with a brief guitar run which seems to reflect a world rushing and screeching towards mayhem. A superb flowing electric guitar solo which is pure Gary Moore initially carries us towards musical Armageddon in a more stately manner, but insanity and chaos soon overwhelms the piece with frankly bonkers fretwork and increasing intensity. The Mighty Fallen eventually implodes under its own weight and insanity, sinking into the dust of a synth drone, which segues poignantly into the gentle sunset of Pete Jones’s emotive voice and gentle piano in Golden. The echoes with probably his best ever song, Don’t Let Go, Feels Alright, are unmistakable… and that’s a good thing. There is a melancholic regret with a sense of someone looking back and thinking of what could have been, but still grateful for what was achieved before things fell apart. A brief but finely judged guitar solo serves to increase the sense of nostalgic yearning and sadness, but it is Pete’s achingly sad voice and simple piano which really touches the emotions on this elegiac piece. This 13-minute suite is right up there with the best moments of Jones’ career – he seems to have an uncanny ability to meld thrilling rock passages with more subtle emotional elements.

Having taken us into a melange of darkness and light, Peter Jones then chooses to plunge the listener into insanity and weirdness in very differing ways. Lean into Madness is all eerie keyboards, distorted vocal effects and a disturbed mind. The weirdly echoing sound effects, based on a Tibetan singing bowl sound, and synth drones are unsettling with a truly strange resonance. It sounds quite unlike anything else I have heard, although there are hints of Peter Gabriel on his third album (also known as ‘Melt’). Apparently, some of these pieces are partly drawn from much older compositions dating as far back as Jones’ teenage years, which just shows that some things take time to reach fruition… and also the fecundity and sometimes worrying strangeness of the adolescent imagination! After that three minutes of weirdness, things taken an even more peculiar twist with the extended Whistle Along. A jolly little beat pulses below what can only be described as an eccentric and whimsically playful keyboard, although it’s clear we are strolling along in some sort of strangely distorted neighbourhood… which then just descends into a bonkers break with Goon-esque voices about “Going down the Shop”. Frankly, it’s like Pete is replaying some sort of distorted childhood memory of an episode of Mr. Benn whilst off his tits on mescaline, or so I imagine! Listeners to Peter Jones’ Progzilla Radio show Tales from the Tiger Moth will already be familiar with his penchant for peculiar Monty Python and Kenneth Williams style humour, and it’s as if Pete has distilled that sort of humour and eccentricity into a bizarre musical outing with silly voices, sound effects and God knows what else. Over seven minutes is quite a long time to sustain such weirdness and ‘weirdnosity’, but he just about manages to keep the listener on board without the need for calling a Doctor! It’s like nothing else you will hear in 2020, and that’s saying something ‘cos this has been a VERY strange year.

The sound of birdsong brings us back to the warm embrace of the title track with a touching reprise of that sweet and memorable song in a more wistful take on the same message and feeling:

“Way before the light I’m waiting by the window,
who will be the first, the first to break the silence”

Peter Jones is a unique talent who somehow combines touching pathos with weird eccentricity, all splurged out of his peculiar and abundant imagination with a great ear for melody and consummate musical talent.

In addition to this unexpected album is the very entertaining DVD, including Pete with his talented Tiger Moth Tales band recorded live at the legendary Rockfield Studios (where Queen recorded Bohemian Rhapsody, Rush recorded A Farewell to Kings and Noel Gallagher sat on a farm wall and recorded Wonderwall – it’s a special place). This show from at least a couple of years ago features songs from Cocoon and The Depths of Winter, and  highlights what a great live band they are, with some great fretwork from Andy Wilson, particularly his great take on the final guitar solo in the outstanding Don’t Let Go, Feels Alright. Tears of Frigga from Depths of Winter comes much more alive in this session. Mick Wilson is solid as a rock on bass and backing vocals, but also shows his fine versatility on clarinet on the sentimental Migration. Paul Comerie seems equally adept at subtle percussion with some powerful, crisp drumming on the spectacular Tigers in the Butter, one of the highlights of the set. Peter Jones is the undoubted star of this session with his wonderful vocals, and his uncanny ability to at times play keyboard with one hand and a guitar with his other hand… yes, really!

Of course, no Tiger Moth Tales show would be complete without his pastoral classic and nostalgic A Visit to Chigwick, which does feel as if we have come full circle to Still Alive, written for Pete’s village. In dark and strange times this excellent release reflects the anxieties and tensions many have felt whilst also somehow making us smile, and we all need to smile a bit more, don’t we?

After all, we’re all Still Alive.

CD – Still Alive

01. Still Alive (5:06)
02. The Mighty Fallen (7:27)
03. Golden (5:58)
04. Lean Into Madness (2:56)
05. Whistle Along (7:21)
06. Still Alive (Reprise) (3:19)

Time – 32:07

DVD – The Quiet Room: A Visit to Rockfield
01. Overture (4:20)
02. Don’t Let Go, Feels Alright (11:43)
03. The Tears Of Frigga (11:26)
04. Migration (3:04)
05. The Ballad Of Longshanks John (6:43)
06. The Merry Vicar (7:32)
07. Tigers In The Butter (14:09)
08. A Visit to Chigwick (9:11)
~ Bonus tracks:
09. Still Alive (Promo video, edited by Chris Jones)
10. Hygge (The Quiet Room Piano Session)

Peter Jones – Vocals, Keyboards, Guitars (CD & DVD), Melodica, Cajun & Irish Whistle Drum Programming (CD)
Andy Wilson – Guitars (DVD)
Paul Comerie – Drums (DVD)
Mick Wilson – Bass, Vocoder, Clarinet & Backing Vocals (DVD)

Record Label: White Knight Records
Country of Origin: U.K.
Date of Release: 1st August 2020

• Cocoon (2014)
• Story Tellers Part One (2015)
• Selling England for a Pound (Genesis Covers) (Download only) (2015)
• Live at the Borderline (Official Bootleg) (Download only) (2015)
• Peter Jones Plays Genesis – Seven Stones Turned (Download only) (2016)
• Live at Summer’s End (Official Bootleg) (Download only) (2016)
• The Depths of Winter (2017)
• The Mad Mothster’s Tea Party (Official Bootleg) (2017)
• Story Tellers Part Two (2018)
• A Visit to Zoetermeer – Live (2020)
• Still Alive (2020)

Tiger Moth Tales – Website | Facebook | Bandcamp

Proving that prog isn't just for dinosaurs!

I’m delighted to announce that the podcast for edition 351 of Live From Progzilla Towers is now available.

In this edition we heard the following music:

  • Pattern-Seeking Animals – Why Don’t We Run
  • Edensong – Cold City
  • Haruomi Hosono – Navigations
  • Erik Norlander – On The Wings Of Ghosts
  • Pinnacle Point – Ascent To The Point
  • Pinnacle Point – Shadows Of Peace
  • Gazpacho – Fireworker
  • Kaitlyn Aurelia Smith – Careen
  • Jethro Tull – Black Sunday
  • Esperanto – The Journey
  • Herd Of Instinct – Mother Night
  • Believe – Mother
  • The Police – Mother
  • Alamaailman Vasarat – Astiatehdas
  • The Scaramanga Six – Dark Matter
  • Elephants Of Scotland – Sun-Dipped Orphans And The Wizard’s Teapot
  • Kaviar – The Sultan Of Brunei
  • IZZ – Into The Sun
  • FM – Headroom
  • Frogg Cafe – Fortunate Observer Of Time
  • Parallel Or 90 Degrees – Gods Of Convenience
  • The Strawbs – The Hangman & The Papist
  • Love – Alone Again Or
  • Gosta Berlings Saga – Släpad
  • Fantasy – Beyond The Beyond
  • French TV – The Kokonino Stomp
  • North Sea Radio Orchestra – Morpheus Miracle Maker
  • Blackfield – From 44 To 48

iTunes/iPod users*: Just search for ‘Progzilla’ or subscribe to:


101 Dimensions Curated by Cliff


Broadcast 6th July 2020 @ Midnight


  • Adelbert Von Deyen – Per Aspera Ad Astra
  • The Future Sound Of London – Lifeforms (Radio Edit)
  • Binar – That Which We Know Not
  • Erik Wøllo – Crescent Moon Kammerflimmer
  • Kollektief – Action 1 Lucid, Imperial B
  • Carbon Based Lifeforms – Betula Pendula
  • Free System Projekt – Naiad
  • Jeffrey Koepper – Apparition
  • Eno-Moebius-Roedelius – The Belldog
  • Giorgio Moroder – Aus (The End)
  • Gert Emmens & Ruud Heij – Vortex
  • Ian Boddy – Alpha Part 2
  • Johannes Schmoelling – The Anteater


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)

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Tales From The Tiger Moth

Edition 123

Broadcast 18th July 2020

Sean Filkins – The English Eccentric
Dark Light – Planet-Goodbye
Porcupine Tree – Fear Of A Blank Planet
Pattern Seeking Animals – The Same Mistakes Again
Steve Hackett – Slogans
Nenad Bach – Everything Is Forever
Frost* – Drown
Bill Bressler – The Liberater
Genesis – Living Forever
Chris De Burgh – The Painter
Abel Ganz – The Life of the Honey Bee and Other Moments of Clarity
That Joe Payne – Out Of The Tunnel
Magenta – The Rose
Chayan – Masters Of Oblivion
Camel – Fox Hill
Soft Machine – Over ‘N’ Above
Happy The Man – Hidden Woods
Genesis – Happy The Man
Abel Ganz – Summerlong
Kate Bush – Lily


Broadcast 26th July 2020

Show 122

1.    Welcome To The Machine Pink Floyd
2.    Dark Now My Sky Barclay James Harvest
3.    As Bad As This w/Plexiglass Toilet Styx
4.    Get Up, Stand Up The Wailers
5.    Loan Me A Dime Boz Scaggs
6.    Why Don’t We Run (:09 Intro) Pattern Seeking-Animals
7.    Time There Was Comedy of Errors
6-Pack of Sweets
8.    Cut the Cake (:08 Intro) Average White Band
9.    Rock Candy Montrose
10. Candy-O (tough segue) Cars
11. Sweet Time REO Speedwagon
12. No Sugar Tonight/New Mother Nature Guess Who
13. Savoy Truffle Beatles
14. No Quarter (:45 Intro) Led Zeppelin
15. Don’t bring Me Down (mono) The Animals
16. Runaway Del Shannon
17. Cherry, Cherry Neil Diamond
18. Sir Lancelot & the Black Knight Rick Wakeman
19. Feels So Good Chuck Mangione
20. You’ve Made Me Very Happy Blood Sweat & Tears
SIAS; Moody-Blues Seventh Sojourn (S1) Moody Blues
21. Lost In A Lost World Moody Blues
22. New Horizon Moody Blues
23. For My Lady Moody Blues
24. Isn’t Life Strange Moody Blues
25. Alethea Robin Trower
26. Bubbles Joe Walsh
27. Hang on St. Christopher Tom Waits
28. Atlantis Calling Flash and the Pan
29. (You Can Still) Rock In America Night Ranger
30. Jailbreak Thin Lizzy
31. Dream Police Cheap Trick
32. Tush ZZ Top
33. Time of the Season The Zombies w/Rod Argent
34. Nothing Man Pearl Jam
35. The Funeral Band of Horses
36. Temple Rise
37. Closets and Bullets The Motels
38. In the Dead of Night U.K.
39. Mother Russia Renaissance
40. Down By the River Neil Young with Crazy Horse
41. Waiting For A Girl Like You Foreigner
42. Oh Well Fleetwood Mac



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