Tag Archives: albums

Memories in my Head (EP)

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Released June 2011

Tracklist:

  1. Goodbye Sweet Innocence
  2. Living in the Past
  3. Forgotten Land

After the release of Anno Domini High Definition, four long years passed before the fifth full-length album appeared in 2013. However, the guys were not idle: Mariusz Duda released two albums for his Lunatic Soul solo project:  Lunatic Soul II in 2010, and Impressions in 2011, and the band continued to work on new material.

As it turned out, 2011 marked the 10th year of the band’s existence, and the Memories in My Head EP became part of the celebration of their first decade.  It certainly seemed as though the band had reached a high water mark: Their label in Poland, Mystic Productions, released the 6-cd Reality Dream box set (combining the first three albums with additional material), and Inside Out released several limited edition coloured vinyl versions of their first four albums.  The band then embarked on a “Jubilee Year” tour of Europe, which culminated with the release of this EP; they also began talk of a new album.

“When something ends, something else begins/We are moving on”. 

Memories in My Head was intended as a farewell nod to the foundational Riverside sound of the Trilogy years (and perhaps to placate the fans impatient for a new album): as ADHD (and subsequent albums) demonstrated, the musical intentions and direction and of the band had shifted, and would continue to do so.  Still, the EP may well be one of the band’s most beloved releases, and it is not hard to see (or indeed hear…) why.  MiMH truly is a magnificent little album, a consummate distillation of everything that made the Riverside sound unique, an almost perfect summing up of ten years of musical and lyric artistry, inspiration and influences, writing and touring.

Clocking in at a shade under 33 minutes (and by now the numbers game should need no explanation), the three glorious tracks merge seamlessly into each other, creating a musical flow that makes the EP feel almost like one long, magnificent song.  Driven by Piotr Grudziński’s hallmark melodic winding guitar themes, and Mariusz Duda’s powerful leading bass and fine vocals, it is packed with musical metaphors and classic Riverside tropes and themes, lushly atmospheric, full of the vast, cinematic soundscape that is so fundamental to their sound.  Lyrically Duda is very much on the ball; there is some excellent word-smithing here, at least on the first two tracks, evoking both nostalgia for the past and hope for the future.  “Forgotten Land” does break the continuity in that regard, being one of the very few songs he has written (for any of his projects) that is not from an intimate first or second-person perspective.  However, the track was used in a trailer for The Witcher 2 video game, so it works in that respect.

Memories in My Head looks back to the more expansive, more progressive, much-beloved sound of the band’s origins, and winds up that era of the band’s history in an almost perfect fashion.  There could hardly be a better way to commemorate their first ten years.

Anno Domini High Definition (ADHD)

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Released: June  2009 (Poland); July 2009 (Europe and RoW)

Tracklist

  1. Hyperactive
  2. Driven to Destruction
  3. Egoist Hedonist
  4. Left Out
  5. Hybrid Times

And then there were four….

Mariusz Duda, when interviewed, often likes to draw attention to a couple of things: that Riverside has a recognizably distinctive sound, and the band does not like to remain stylistically static.  These facts are abundantly clear nowadays, but I warrant that even after three albums, the second point was not so obvious. The Trilogy introduced an unmistakable Riverside-ish musical Gestalt, one that essentially defined them and even though there were some differences from album to album (especially in regard to how heavy they became), there really was a unity of sound that likely has helped pigeonhole them in the “progressive” category from which it is proving difficult for the guys to extract themselves (in fact, anyone who has paid any attention at all to interviews and comments over the past couple of years will realize that being styled “progressive metal” is somewhat of a Duda bugbear).

Anno Domini High Definition (ADHD), their fourth album (with its four-word title and double-entendre acronym) was the first album where this desire for stylistic change became undeniably manifest.  And what a change it was.  It must have seemed as if they were not just abandoning their lush progressive roots, but dropkicking them into the next solar system.  The guys took their sumptuous atmospheric sound and slammed it head on into a heavy metal wall; they embraced it so enthusiastically one might even suspect they were eager for a change.  The keyboard sound acquired a much harder edge.  The guitars are dense and raunchy and full of relentless energy, the bass punchy and riff-heavy, taking the lead like it had never done before. Piotr Kozieradzki must have been in drum heaven on this one, with his extensive death metal background.  No acoustic guitar, no ballads, no real soft pieces except the start of “Left Out”.  For all that, Duda’s first point stands: There is no doubt we are listening to Riverside—their distinctive core remains untouched.

Continue reading Anno Domini High Definition (ADHD) →

Blowing the Dust Off: Walking Into Mirrors

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Welcome to the second post in a new occasional project: revisiting music that has sat, unplayed, in my vinyl collection for so long I don’t remember what it sounds like. Often these are albums from artists whose other work I like, or that I bought because a song or two caught my attention, or that thought I “should” have for whatever reason. Sometimes they are albums that once got a lot of play but for some reason drifted out of consciousness.  I think we all have managed to accumulate a few of these albums.

So I’ve decided that this blog is a perfect excuse to haul them out, dust them off, give them a spin, and write up short reviews to tell you about them. With luck, I will discover some forgotten treasures. On the other hand it may inspire me to get rid of stuff and open up some much-needed (Much. Needed.) space for albums I might actually want to own.

Walking Into Mirrors by Johnny Warman

Released: 1981

Lineup:

Johnny Warman: music, lyrics, vocals, electric guitar, acoustic guitar

Guest Musicians:

  • Jerry Marotta: drums, percussion
  • Larry Fast: keyboards and synth effects
  • Tony Levin: bass, stick
  • John Giblin: bass
  • Dave Lawson: synthesizers and sequencing
  • Peter Gabriel: vocals (track 5)

Tracklist:

  1. Walking into Mirrors
  2. Radio Active
  3. Searchlights
  4. Martian Summer
  5. Screaming Jets
  6. Three Minutes
  7. Will You Dance with Me?
  8. (S.O.S) Sending Out Signals
  9. Dancing Dolls
  10. Fantastic Light

Johnny Warman is a British singer/songwriter whose most successful phase was during the 1980s; he has made a few albums over the years, and is still active, but Walking Into Mirrors was the only album that really made any kind of impact. The track “Screaming Jets” became a minor hit and probably is the only song that Warman may be remembered for–and that is largely due to the guest vocals of Peter Gabriel who was hitting his stride as a solo artist in that decade.

And yet…while Warman may seem to be a One-Hit Wonder, it does not feel right to actually call him that, mostly because it is unlikely that Walking Into Mirrors got the play or attention it really deserved.  “Screaming Jets” as a single had the name cachet of Gabriel to drive sales, but the entire album is stellar, with several tracks arguably superior.

Walking Into Mirrors is unmistakably an album of the 1980s, with its short, bass-heavy, densely synth-driven pop songs, effortlessly evoking the night-club dance-fests and the unquiet angst that the relentless clubbing could never quite dispel.  But dig beneath the surface: the lyrics, the superb arrangements — these songs are piercingly intelligent, incisive both lyrically and musically; the lyrics are full of anxious trepidation, loneliness, desperate hope, quietly apocalyptic, but the music is upbeat, poppy and sometimes even cheerful – the world may end in a blinding flash, but the aliens are here because they are lonely without music of their own…and will you dance with me?

Much of the success of the sound of this album is down to the outstanding roster of guests. Warman was held in such regard at one time that iconic 80s musicians were happy to show up to lend their chops: pioneering synthesizer whiz Larry Fast; drummer Jerry Marotta (who stepped in because Phil Collins couldn’t make it) and who went on to become a hugely in-demand player for just about everybody; prolific studio and guest bassist John Giblin; and the legendary Tony Levin on bass and stick.  And of course, Peter Gabriel…. Warman wrote the music and lyrics, and does the vocal job with his distinctive Cockney accent (which may make or break this album depending on one’s tolerance for … “interesting” voices).

This was an album that I used to play a lot.  Most of the songs are eminently listenable, ranging from pure 80s synth-pop to gentle, almost ambient electronic-based balladry.  The standouts include not only “Screaming Jets” with Warman talking the lyrics and directing the key changes while Gabriel wails and cries eerily in the background; but also the disquietingly cheerful “Dancing Dolls” featuring Levin’s distinctive stick bass sound.

But the real crank-to-eleven show-stopper is the last track, “Fantastic Light”.  Majestically funereal, an ominous slow synthesizer line and massive snapping snare underlie Warman’s desperate keening vocals: “I’m waiting for that one fantastic light” — an apocalyptic warning if ever there was one.

 

 

Interlude: Reality Dream Live

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Released:

  • 2008 on cd and vinyl
  • 2009/2010 on DVD
  • 2011 in the Big Box Set (6-cd compilation)

Live tracks recorded and filmed during a concert played in Łódź, Poland on May 17th 2008.

The reviews of the three studio albums that make up the Reality Dream Trilogy are posted, so it seems like a sensible spot to put a brief précis of the only live concert video Riverside have managed to bring to fruition thus far, a live set of tracks and a DVD stitched together from songs from those albums. If they played anything from Voices in My Head or new songs during this show, it does not appear here.

As of this writing, apart from some videos on the band’s and the label’s Youtube channels, the Reality Dream DVD is the only official record of the band’s on-stage presence—at least as it was at one point in their career.  It provides a touchstone for comparisons to their recent performances, especially if one refers to the documentary “In Between” that accompanied the last Lunatic Soul album wherein Mariusz Duda briefly discusses the changes made by the band in how they approach their live shows.  Duda is indeed much more of a physical presence on stage now than he was in the early days, and Michał Łapaj is much less restrained…but otherwise there isn’t a lot of difference.  They were and are superbly rehearsed, almost preternaturally in touch with each other as performers, and while audience participation is more actively encouraged in recent years the band seems to play more to each other than they do directly to the audience.

In terms of production it is a good record of a live performance, fairly straightforwardly shot but alas edited as if someone had spent too much time watching Porcupine Tree’s Arriving Somewhere DVD, chock full of faux scratches and fading colour and the flare of decaying film, with aspect ratios flipping back and forth at random.  All of that distracts more than it enhances.   Just give us the show.   The songs are almost perfectly rendered versions of the studio tracks with some minor concessions to the live context.  This perhaps is the biggest contrast with the current approach: today many of the songs have been modified and transformed into unique and in some cases superior versions for live performance.

There are four versions of this show, in different formats, and each with slightly different track orders. At the moment the availability of the different releases varies from “You Can Find It If You Dig” (the DVD mostly) to “Yeah Right, Dream On”.  Set lists for the different versions continue  below the fold.

Continue reading Interlude: Reality Dream Live →

Albums of 2015: The Year So Far

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We’re halfway through the year so I thought I would do a quick run-down of the music that has caught my attention up to this point.  There are not a lot of albums on the list; for a variety of reasons I have not been knocking myself out seeking new music.  But finding it is never a problem – there is far more great music out there than anyone could ever listen to, and many of my friends have reasonably decent taste.  🙂

It might be a short list, and not everything on there is going to make it across the finish line, but the quality of the releases has been outstanding. Let me put it this way: if this year’s no-hopers had appeared in 2014, my year-end tally would have looked quite different.  Last year it was tough to come up with ten albums without padding the list; this year it is going to be hard to leave things off.  If the quality of the upcoming releases is as high as what has already appeared, I may simply make a Top 15.

This is a year that demonstrates beyond all doubt that the best, most engaging, most sheerly awesome sounds are being made by people no-one has ever heard of, or who have been forgotten—folks who have nothing to lose and in the overall scheme of things (especially in the current musical economic reality) little to gain; when the icons seem to have become mired in hype and self-referential twaddle, and when genres have become meaningless (not that they ever were really meaningful, mind you).

So without further ado, here are the best (so far) of the maybe 16 albums I considered, in roughly reverse order.  Needless to say this is subject to change at any time, and is pretty much bound to change as the new crop of upcoming releases hits.

Continue reading Albums of 2015: The Year So Far →

Rapid Eye Movement

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Released: September 2007 (Europe); October 2007 (North America)

(The band lineup has remained stable since Voices in My Head; if anything changes, relevant reviews will note it)

Tracklist:

  1. Beyond the Eyelids
  2. Rainbow Box
  3. 02 Panic Room
  4. Schizophrenic Prayer
  5. Parasomnia
  6. Through the Other Side
  7. Embryonic
  8. Cybernetic Pillow
  9. Ultimate Trip

Bonus Disc Tracklist:

  1. Behind the Eyelids
  2. Lucid Dream IV
  3. 02 Panic Room (remix)
  4. Back to the River
  5. Rapid Eye Movement

And then there were three.

The release of Rapid Eye Movement (REM) wound up the Reality Dream Trilogy, the first three albums united by their ambitious and lushly intricate musicality, and their common lyric arc of self-exploration and change.  As it turned out, REM also marked the end of the first phase in the band’s ongoing quest to explore new musical directions and keep themselves sounding fresh, but this wouldn’t become clear until album number 4.

I find this a difficult album to review.  I like it, of course, I like all the Riverside albums, and I would rather play REM than many other albums in my collection, but I rarely feel the urge to play it in its entirety.  It is an album that seems “stuck between”, as it were, in a kind of limbo between potential and success, as if something intangible is missing.  In other words, it is not immediately obvious why REM should not be a well-played album.  I don’t have an easy explanation for why it niggles at me.

At any rate, I suspect that if anyone is going to bother to disagree with any of my Riverside reviews, it will be with REM. I know a lot of people connect with it, but I seem unable to do so. I think my issues with the album boil down to this: the largely hit-and-miss nature of both the songs and the lyrics.

The lyrics of REM appear to be themed around psychological aspects of duality and opposition: sides of our personalities that often are in conflict.  Sleeping, dreaming, and the liminal state between sleep and wakefulness are some key metaphors that drive this theme.  And I have to confess that these ideas are cleverly handled: hooky imagery abounds, sly cultural references, and plenty of deft turns of phrase—and yet, there is just something missing.

Continue reading Rapid Eye Movement →

Second Life Syndrome

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Released October 31, 2005

Personnel:

  • Mariusz Duda: bass, vocals, acoustic guitar, lyrics
  • Piotr Grudziński: guitar
  • Michał Łapaj: keyboards
  • Piotr Kozieradzki: drums

Tracklist

  1. After
  2. Volte Face
  3. Conceiving You
  4. Second Life Syndrome
  5. Artificial Smile
  6. I Turned You Down
  7. Reality Dream III
  8. Dance With the Shadows
  9. Before

This is probably the first Riverside album I heard all the way through.  I do know that the very first song I ever heard by them came from this album, and quite by accident.  I think we all pile up those free cds that come with each issue of Prog Mag, and (confession time) I pretty much never get around to playing them.  This time though the cd was a “history of prog ” compilation, so I gave it a shot.

Insert cd…<stuff plays> Yeah this old stuff is good…what about this new prog? <listens> Meh; okay; meh; meh; meh…<”Conceiving You”>  Oh wow who the hell are these  guys?  <jawdrop> And who the fuck is that singer???

I sure found out, because my immediate and subsequent digging around on Youtube for Riverside inevitably turned up Lunatic Soul, and that was the music…but anyway, that’s a different set of reviews. As it was (and I discovered them late: they were a year away from releasing their fifth album) I spent the next six months listening to almost nothing else but the Riverside and Lunatic Soul back catalogues.

Second Life Syndrome is the album where Riverside became complete, as it were, and its release must have quelled the apprehension of many fans eagerly awaiting the follow-up to Out of Myself: were these guys really going to be able to fulfill the enormous promise of that first album?

Continue reading Second Life Syndrome →

Voices in My Head

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Welcome to the second in my Riverside reviews series.

Voices in My Head (EP)

Released March 2005

Personnel

  • Mariusz Duda: bass, vocals, acoustic guitar, lyrics
  • Piotr Grudziński: electric guitar
  • Piotr Kozieradzki: drums
  • Michał Łapaj: keyboards

Tracklist

  1. Us
  2. Acronym Love
  3. Dna Ts. Rednum Or F. Raf
  4. The Time I Was Daydreaming
  5. Stuck Between
  6. I Believe (live)
  7. Loose Heart (live)
  8. Out of Myself (live)

The second Riverside release, Voices in My Head, was offered as a sort of placeholder for the fans, after the excitement of the first album and while they waited for the next. It is brief, as befits an EP, presenting five new tracks and three live performances of songs from Out of Myself.  It showcases the gentle, acoustic side of the band, and is notable for being the first studio appearance of their new keyboard player Michał Łapaj, who had taken over from Jacek Melnicki.

The new tracks on Voices in My Head are all ballads save one (which is exceptional in more than this), essentially acoustic and electric guitar, keyboards, and Duda’s lovely voice.  The three live tracks were taken from a show played in Warsaw in 2004, and maybe can be regarded as a road-test to see how well Łapaj was going to fit in.

Overall the EP is pleasant, the tracks short, beautiful, acoustic guitar and piano; but too many ballads in a row leads one to perhaps forget that this is (theoretically) a Riverside release and not a Mariusz Duda solo effort with guests.  Still, these songs arrow straight for the heart, taking full advantage of the delicately intimate side of Duda’s voice and lyrics, silky and yearning. “The Time I was Daydreaming” and “Acronym Love” (which would re-emerge a decade later as a somewhat re-worked live showstopper) are the best songs along that line.

And then…the remarkable “Dna Ts. Rednum Or F. Raf”, with its too-clever-by-half backward title, charges headlong into the middle of this otherwise rather sedate set: a rocking, chugging track with a rumbling bassline and compelling hypnotic rhythm (no live drums, but drum machine), it thunders along powerful and unique, and remains one of the outstanding tracks in the entire Riverside canon.  I don’t know if it ever got played live, but it might be worth seeing—this track at full bore has roof-raising potential.

Overall, Voices in My Head lacks the stylistic variety and signature sound associated with Riverside as a band; it seems more a Duda/Łapaj effort, with some Grudziński thrown in.  I tend to sample this EP rather than listen to it through:  “Dna Ts. Rednum Or F. Raf” has become a staple, and a couple of other tracks get play depending on mood.  I think what we have is what it was intended to be:  a collection of extra tracks assembled to help fans endure the wait between albums.  It certainly does not have the status or quality of the band’s other EP, but more on that one later.

Out of Myself

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Welcome to my series of reviews of the Riverside catalogue.   You can read my intro and initial rankings here.

I hope you find them interesting, and I would be pleased if you’d leave a comment or two…even if you disagree.  Hell, especially if you disagree, because hearing your opinion is more interesting than just having an echo chamber.

Besides…if too many people agree with me, I’ll suspect I’m doing something wrong.

Out of Myself

Released: Poland 2003 with original cover/2004 rest of world, cover by Travis Smith

 Personnel:

  • Mariusz Duda: vocals, bass guitar, acoustic guitar, lyrics
  • Piotr Grudziński: guitars
  • Piotr Kozieradzki: drums
  • Jacek Melnicki: keyboards

Tracklist:

  1. The Same River
  2. Out of Myself
  3. I Believe
  4. Reality Dream
  5. Loose Heart
  6. Reality Dream II
  7. In Two Minds
  8. The Curtain Falls
  9. ok

Out of Myself  is the album that introduced Riverside to the world…and for a first album, this is as grand an entrance as can be imagined.  Imbued with an astonishing sophistication of sound and vision, it is confident and forward-looking; call it what you will — prog rock, prog metal — this album married the various band-member influences (and inevitable comparisons to Certain Other Bands) into one glorious progressive bundle.  Influences aside, Riverside marched into progressive consciousness as an entity unto itself, and the band has managed to maintain its unique sound throughout its subsequent stylistic incarnations.

As it turns out, an early version of their music, raw and unrefined, exists on a 7-track “demo”.*  A couple of the tracks from this made it onto Out of Myself more or less intact (just cleaned up), but others are very differently conceived (such as “The Curtain Falls”), one has completely disappeared into oblivion (never rerecorded as anything that I have found), and one reappeared much later as a track on the “Conceiving You” single.  This bit of history provides a fascinating glimpse of the wobbly first steps of what would eventually become one of the most polished and professional musical outfits around.

Out of Myself pulls no punches: it kicks off with “The Same River”, a 12-minute prog opus, and from there manages to encompass an impressive range of styles: delicate acoustic ballads, pure face-stomping instrumental metal, screams and growls, the willingness to wander off in different musical directions and back again.  We discover Mariusz Duda’s intimate, introspective lyric style, and his lovely distinctive voice.  And behind it all what would become Riverside’s hallmark sound: Piotr Grudziński’s great winding guitar themes and melodies and Duda’s intricate bass playing, anchored by solid drumming and the vast soundscape wash of the keyboards.  It would take another album and a new keyboard player for all these elements to coalesce, but this first album is remarkable for how thoroughly it introduces us to the essence of Riverside.

Continue reading Out of Myself →

Hand. Cannot. Erase. The new Steven Wilson is here.

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Take a cut of the heavier, proggier end of Steven Wilson and season it with a judicious pinch of jazz fusion, simmer with a touch of Blackfield and Grace for Drowning, and serve over a bed of Porcupine Tree. Present on a silver platter of fan-hype and accolades and Voila! Hand. Cannot. Erase., the new Steven Wilson solo album.

I’ve been playing this more or less regularly since the iTunes download arrived (read: at least once a day) in order to get a feel for it. I’m not sure yet where it fits in the Wilson solo canon, but my overall impression is of an album of pleasant tedium interrupted by moments of sheer beauty. And alas I find that there are not nearly enough moments of sheer beauty, or any sort of other exceptional moments. It is all very competently done (as is ever the case with Wilson): well composed, well sung, well played, but overall it tastes rather…not so much bland, as restrained.

On the plus side: HCE is poppier, proggier, and more purely face-melting heavy than anything Steven Wilson has done solo for a long time, and this is not a bad thing. These are skills that are not lacking in the Wilson musical recipe book, and his prog-pop (pop-prog?) work is nicely concise and to the point. The long instrumental passages and jazzy solo stretches of the last two albums are (mostly) gone. There are instrumental breaks, of course, but they move the song along and one doesn’t get the feeling they were stuck in there as a showcase for somebody’s chops. This is a clear improvement. The introduction and careful use of the female vocalist has worked out better than a lot of people expected: Ninet Tayeb has a wonderful voice and her parts are perfectly placed.

Wilson does have a gift for the beautiful melody, and on an album as pop-flavoured as this one, he really shines. The title track is catchy, infectious, upbeat, and surprisingly heavy at times; I’ve heard people say that it might be a bit too Blackfield-ish, but you know, he does this sort of thing so well. The man has such a vast repertoire; I see no problem with his pulling influences from wherever he needs to get them. Likewise the intense heavy moments are reminiscent of the metal-ish days of Porcupine Tree – which suits me fine because those were my favourite PT albums. It’s nice to hear them again.

I wish there were more tracks as completely immersive as “Hand Cannot Erase” but unfortunately the other stunning moments are kind of scattershot, popping up in the midst of pleasant but otherwise unremarkable tracks: the last third of “Routine”, the first bit of “First Regret/3 Years Older” for example.

And on the downside: HCE has more heart and soul than The Raven that Refused to Sing possessed, and much less (thank god) sheer wankery than was on Grace for Drowning, but despite the beautifully heartbreaking moments and joyful metal heaviness, I find it lacks a fundamental sense of adventure or daring. It is just so polite and restrained. The most applicable description is “nice”, with all the innate blandness implied in the word, and the great moments are not enough to overcome that final sense of dissatisfaction at the end of the album. It could have been so much more.

I will wind up on a more positive note because the album does end well: “Ancestral” (at least the last two thirds of it) is a mighty, mighty song. It. Kicks. Ass. in the way Deadwing kicked ass, and there are sections that could have come directly from Deadwing.

And “Happy Returns/Ascendant Here on…” is my favourite song on the album by far, heartbreaking and transcendently beautiful.

Alas, there just are not enough of these moments on this album. It is a tasty stew, but it is not Cordon Bleu.

7.5 /10