Tim’s Albums of the Year

2010 doesn’t seem to have been quite as strong a year as 2009, when I did a top 15 on my own blog – this year I struggled to name ten, with some albums getting a lot of hype in my musical circles doing nothing much for me at all.- Iron Maiden and Pineapple Thief being two of them. There is utterly zero overlap with The Guardian’s own top 40, or even the top 10s of any of The Guardian’s writers. Somehow I don’t think any of the RR crew will be surprised by that…

10: Rhapsody of Fire – The Frozen Tears of Angels

More Dungeons and Dragons operatic pomp-metal from the Italian quintet, again featuring narration from Sir Christopher Lee and a corny plot featuring a Dark Lord called “Necron”. All good fun in a cheesy sort of way, even if it doesn’t really break any new ground for the band. Twenty-sided dice are not included.

9: Parade – The Fabric

Parade is the brainchild of Fish guitarist and former Mostly Autumn keyboard player Chris Johnson, with the collaboration of Anne-Marie Helder, Gavin Griffiths, Patrick Berry and Simon Snaize. It took me a few listens for this one to click; on the surface it’s an indie-sounding album with it’s sparse chiming guitars and clattering drums; but listen more closely and there’s some real musical depth there.

8: Anathema – We’re Here Because We’re Here

The former doom-metallers return after a lengthy absence and drop just about all traces of metal from their sound in favour of atmospheric soundscapes. It’s a musical journey that works far far better as one continuous listen than as a collection of individual songs.

7: The Reasoning – Adverse Camber

The Cardiff band’s third album continues in a similar prog-metal vein as 2008’s “Dark Angel”, albeit with Rachel Cohen handling the majority of the lead vocals. A solid piece of work with some great songs, even if it doesn’t (for me at least) quite reach the heights of their first two albums.

6: Pure Reason Revolution – Hammer and Anvil

PRR describe their third album as “Disco-prog”, meaning they’ve put electronic dance, prog and metal into a blender. At times atmospheric, at times sounding like The Prodigy at their most mental, it puts the progressive back into prog.

5: Therion – Sitra Ahra

Not quite as bonkers as their last album “Gothic Kabballah”, this one is the slightly more accessible side of Therion’s choral metal. It’s still filled with complex multi-part vocal arrangements using multiple classically-trained singers, which when combined with twin lead guitars makes for a very rich sound indeed.

4: Black Country Communion

The combination of Glenn Hughes, Joe Bonamassa, Jason Bonham and Derek Sherinian is in danger of giving supergroups a good name with this album of classic 70s-style hard rock. Hughes, despite his age is on fine form vocally, Bonamassa shows he can do hard rock as well as blues, and Jason Bonham is in the same league as his famous father. Sherinian really only has a supporting role given that cast, but still delivers some great Hammond playing. The best album Led Zeppelin never recorded in the 70s? Maybe.

3: Karnataka – The Gathering Light

Five years in the making, the second incarnation of Karnataka finally deliver an album of old-school symphonic prog on a truly epic scale. Features heartfelt female vocals from the now-departed Lisa Fury and some fantastic guitar playing from Enrico Pinna, as well as guest appearances from Troy Donockley on Uilleann pipes, and Hugh McDowell, formerly of ELO, on cello.

2: Panic Room – Satellite

Compared with it’s complex, multilayered predecessor, Panic Room’s second album is made up simpler, more direct songs. The very different musical backgrounds of the five members combine in an alchemical mix which results in far more than the sum of the parts. Elements of hard rock, prog, pop, folk and jazz contribute to a sound that defies easy pigeonholing, with some very thought provoking lyrics from Anne-Marie Helder.

1: Mostly Autumn – Go Well Diamond Heart

OK, so you all know I’m a huge fan of this band. But this is the first time since I’ve been blogging that they’ve come up with my album of the year. It’s an immensely varied album containing atmospheric celtic moments, belting hard rockers, shimmering four-minute pop songs, and soaring ballads. They’ve managed to take the spirit of 70s classic rock and made it sound relevant for the 21st century with great songwriting, singing and musicianship. And they’ve done it straight after the departure of a much-loved lead singer too.

Four Days, Four Gigs

My name is Tim, and I’m addicted to live music.

It’s been one of those bank holiday weekends – four gigs in four days, which I think is the greatest amount of music in the shortest time I’ve ever done outside of a festival.

Things started a day early on the Thursday, with The Reasoning at The Met Theatre in Bury. Support band Morpheus Rising are a five piece band shamelessly citing the 1980s NWOBHM as a principle influence, now reclassified as hard rock following boundary changes. Entertaining high energy stuff.

I’d seen The Reasoning a week earlier in London, where a very poor sound mix really hadn’t done the music justice, and the performance suffered badly as a result. Tonight was far, far better. Bury Met is always a great gig whoever is playing, and The Reasoning I know and love were back with a vengeance, now expanded to a seven-piece with new members Jake Bradford-Sharp on drums, ex-Fish keyboard player Tony Turrell and vocalist Maria Owen. The new album “Adverse Camber” features heavily, which takes a slight step back from prog-metal in favour of some elements of the atmospheric melodic music that Rachel did with Karnataka. Not that the twin guitar attack of Dylan Thompson and Owain Roberts doesn’t still rock hard plenty of times, but the overall effect is to make their live set a lot more varied and multi-dimensional, which cannot be anything other than a good thing.

On Friday I travelled down to Cardiff to see Hawkwind supported by Panic Room at St David’s Hall. I’ve seen Panic Room many times before at their own shows, here they made the most of their five-song 30 minute slot, naturally including a great version of “Apocalypstick”. Blessed with a good sound mix for a support, they seemed to go down well with Hawkwind’s audience, and told me they sold a lot of albums after the gig.

Hawkwind themselves I hadn’t seen since 1980, and had lost track of what they’ve been doing since the mid-80s, so I really didn’t know what to expect.

Continue reading