Thieves' Kitchen - The Clockwork Universe (2015)

Un disco especialmente dedicado a nuestro amigo Carlos el Meduco, porque seguro su estilo le va a encantar. Si te gustó Ciccada. Un grupo inglés que con este disco son más suecos que otra cosa, en este disco participan tres Änglagård (uno como miembro del trío y dos invitados) para conformar un equipo de lujo con una exquisita voz femenina, donde Johan Brand, un Änglagård que es una leyenda del rock progresivo sueco, aporta su expresivo estilo y potente y característico sonido de bajo, mientras que la propia Anna Holmgren (obviamente también de Änglagård) toca la flauta, para completar un disco disfrutable al máximo, un complejo y exquisito jazz-prog de este colectivo anglo-sueco. Imperdible trabajo, un disco fino, cristalino, sólido y contundente que no se deberían perder. Totalmente recomendado.

Artista: Thieves' Kitchen

Álbum: The Clockwork Universe
Año: 2015
Género: Progresivo ecléctico
Duración: 51:32
Nacionalidad: Inglaterra / Suecia

Lista de Temas:
1. Library Song
2. Railway Time
3. Astrolabe
4. Prodigy
5. The Scientist's Wife
6. Orrery

Alineación:
- Amy Darby / vocals
- Phil Mercy / guitars
- Thomas Johnson (ex-Änglagård) / keyboards
With:
- Johan Brand (Änglagård) / bass
- Anna Holmgren (Änglagård) / flute
- Paul Mallyon (ex-Sanguine Hum) / drums

Thieves' Kitchen comenzó a finales de la década de 1990 como una típica banda de aburrido neo prog británica típica para cambiar de manera significativa luego con el tiempo. Al día de hoy ya no es una banda puramente británica ni hace neo progresivo (o al menos no lo hace desde el lado aburrido), con una conexión con Suecia que puede reducirse a un denominador común, que se llama: Änglagård. El disco está lleno de excursiones al jazz fusión ligero que viaja en segundos a voluminosas capas de rock sinfónico, con pasajes maravillosos de bellas melodías, armonías muy hermosas y arreglos complejos en temas que van desde los pocos minutos de duración a los 20 minutos, mientras que la voz de su cantante es una característica esencial de la formación actual de esta enorme banda.

Thieves’ Kitchen se ha convertido en el descubrimiento más importante del género progresivo del pasado 2015. Hace poco que lo degusté y tras varios fracasos, alguno de ellos estrepitoso, no me esperaba nada del otro mundo. Y lo que me encuentro es un gran disco digno de estar a la altura de grandes bandas como Steven Wilson y su exbanda Porcupine Tree, los “nuevos” Flying Colors o los numerosos proyectos de Neal Morse.
La cosa pinta muy bien en esta banda de origen británico que cuenta con invitados desde su primer disco del frío país sueco. En sí la banda es conformada por el trío compositor y más protagonista de los temas: teclado, guitarra y voz, que en este caso es femenina, y muy bonita.
la estructura de los temas varía con respecto a si es instrumental o cantada, la voz no es tan predominante como en otros discos, por lo que la instrumentación toma un nivel superior a los demás integrando virtuosos y variados solos de guitarra, teclado y duetos de los mismos. Esta estructura se repite en temas como “Library Song” y “Prodigy”. Sin embargo en “Railway Time” incluyen además de la voz, instrumentos de viento, flautas, tanto de madera como metal. Los coros del estribillo animan a seguir escuchando el disco, un gran tema que, junto a la larga “The Scientist’s Wife”, de casi veinte minutos totales, hacen que valga mucho la pena este “The Clockwork Universe”.
Al final “Orrery” pone el broche final con este tema puramente progresivo, quizá el que más se nota la esencia del género, recuerda alguna vez a Ayreon en los teclados o a Riverside en la guitarra. La producción hace justicia, siendo muy buena, queda todo muy clarito y no se detecta ningún punto vacío. La nota que le doy es de 7,8/10.

Moralabad

"The Clockwork Universe" es un álbum que explora la experiencia humana de un mundo complejo. Son canciones sobre personas cuya experiencia las pone en contacto con un universo de aprendizaje, ya sea como un niño (Prodigy), la esposa de un científico (The Scientist's Wife), jóvenes amantes (Library Song) o como un espectador ¿quizás un obrero? frente a la inexorable progreso de la industrialización (Tiempo Ferroviario). El disco trae a la mente una edad pasada de la exploración científica, y la soledad iluminada por las velas en la lámpara.
Influencias nórdicas para plasmar la melancolía y la maestría, los temas están muy bien dispuestos y son muy variados; hay geniales solos de guitarra, hermosos y virtuoso, gran despliegue de la batería y el teclado, y ni hablar del trabajo de la chica en la voz, que es en definitiva lo que aporta el sello distintivo a este trabajo notable. Exquisitas secciones instrumentales aportan lo suyo. En definitiva, un disco exquisito por donde se lo mire.

Y ahora, les dejo algunos comentarios en inglés. Y por favor, que Carlos el Menduco me deje un comentario y me diga si le gustó o no.

Thieves' Kitchen, a trio of Phil Mercy, Amy Darby, and Thomas Johanson (ex-Anglagard), with adjunct members Anna Holmgren (Anglagard), Johan Brand (Anglagard) and Paul Mallyon (ex-Sanguine Hum), have created a collection of meticulously crafted and expertly performed songs in the vein of the most complex Canterbury scene and symphonic Yes demanding the highest degrees of difficulty from its musicians. Vocalist Amy Darby's stylings are similar to the palette-clearing effects of a superlative red wine--the backbone upon which each song rests, despite the fact that it is a "lead" instrument. She could be singing about chainsaw massacres but it would feel like walks on the soft floor of a pine forest to me.
1. "The Library Song" (6:47) is a jazzy exploration held strong and fast by Amy's solid vocal--which is oddly mirrored by the lead guitar. Great keyboard play from Thomas Johanson throughout but Paul Mallyon's drumming and Johan Brand's bass play are stellar! (9/10)
2. "Railway Time" (7:38) begins with quite a "smokey lounge" bluesy keyboard and guitar duet before evolving into a bass-anchored expose for Amy's most diverse and adventurous vocal of the album (less sustained notes, more scatting around the scales). Nice shift away from the blues foundation after the mid-song flute solo. The most accessible song I've ever heard from TK and my favorite melody of theirs. (10/10)
3. "Astrolabe" (3:17) is a slow duet that puts the wonderful sympathy of guitarist and founding band member Phil Mercy and pianist Thomas Johnson on full display. (9/10)
4. "Prodigy" (9:07) is full-scale prog song construction on display (a la 1970s YES) with the absolute highest caliber musicianship possible. Classic! (10/10)
5. "The Scientist's Wife" (19:58) An obvious attempt at the more sophisticated Canterbury sound, this is my least favorite song on the album--and it's still an 8 out of 10! The five-minute opening instrumental section is quite impressive for the excellent play of its interwoven parts--not unlike a KING CRIMSON "Discipline" display--but it then mysteriously disappears in order to give way to a soft acoustic guitar foundation behind Amy's storytelling. A pleasant enough section blessed with Amy's crystalline vocal warmth, but then, though the song builds layers around and with Amy's story line, the song never seems to take off and fly--and feels much the homogenous single movement of what is promised to be a Yes symphony. Impeccable performances on what feels like an under-developed song. A lot of unrealized potential. (8/10)
6. "Orrery" (4:41) is another slowed down, scaled down song of mostly gentle piano play, though Thomas's work is beautifully embellished by ethereal flutes, intermittent guitar and bass flourishes and Mellotron, no drums. On a par with Francesco Zago's EMPTY DAYS work of 2013. (9/10)
Stellar musicianship, remarkable sound engineering (instrumental clarity), and quite beautifully sophisticated compositions that impress and engage. Like Anglagard albums, this one has taken several listens for the songs to start to weave their way into my psyche, into my heart. So, I recommend that you give this one some time. If you do, you'll be very, very thankful. An incredibly well-polished masterpiece from a dedicated and deserving group of musicians. Definitely a Top 20 Album of 2015!

Drew Fisher

Wow! Okay, I will try to limit my gushing here. All gushing does is tell people the reviewer really likes the album, which doesn't mean anyone else will. So I'll try to comment on specifics of the music and keep emotion out of it. Even though this album is really, really good. For the sake of references, musically, the 6th Thieves' Kitchen album reminds me a little of 'Hatfield & The North'. Much more so than previous releases. The composition, and even the sound of the keyboards remind me of Dave Stewart. The beautiful first track, 'The Library Song' opens with piano chords that call to mind the intro to 'Mumps', from 'The Rotters' Club'. The continual change of complex chords is pure ear candy to these ears, and when Amy Darby's voice arrives, it's like chocolate mousse. Amy has never sounded sweeter, with beautiful vibrato that holds notes over changing chords and superb melodies for her to sing her meaningful and compelling lyrics with obvious passion. When this track ended I was left with the impression that this was the finest piece of music in the entire TK catalogue. But it didn't stop there. 'Railway Time' continued this quality with a 'chorus', I'll call it, that echoed in my mind after the album was over, still giving me chills. Each track, in fact, is brilliantly crafted past the point of 98% of today's music, to a place where it becomes fine art. I would be amiss not to mention the album's opus, 'The Scientist's Wife'. The uber-tight instrumental climax to this 20-minute epic really has to be heard to fully appreciate. As usual, Thieves' Kitchen's musicianship is top-notch here. Phil Mercy's fluid crescendos, especially in the aforementioned climax display a rare talent that is undeniable. But again, where Phil and Thomas Johnson have really cranked things up a notch or three, is in the composition, making this, in this reviewers opinion, their strongest album to date without question. I remember when Dave Stewart wrote music like this.

Bill Gillham

Comparisons can be trite, but in striving for ever more convoluted, or conversely concise ways of describing low profile bands to potential listeners it is always well to remember that “a dichotomy of complicated note flurries mixed with simple yet winning vocal delivery resolved over the course of a twenty minute epic by consummate and mighty chops” may not cut the mustard. So, trite it may be, but imagine if Steve Howe had been the guitarist for National Health in a mash-up with Pentangle, that would be as good a place as any to start with this individual band of studio troubadours.
My own description in quotes above applies to the centre piece of The Clockwork Universe, the sixth album by long running Anglo-Scandi co-operative Thieves’ Kitchen. Based in Swindon, the core of the band comprises guitarist Phil Mercy, singer Amy Darby and the now ex-Änglagård keyboard player Thomas Johnson. As with 2013’s wonderful One For Sorrow, Two For Joy these three are again joined by ex-Sanguine Hum drummer Paul Mallyon and Änglagård’s Anna Holmgren, who this time round brings along her band mate Johan Brand and his mighty bass guitar. Despite the presence of so many from the Swedish band, the sound produced by Thieves’ Kitchen bears little relation to the Gothic folk-prog myth making favoured by Änglagård. This delightful and precise work is a place where everything locks together in harmonious movement in what at first may seem an incongruous mix, but by the end will have you hitting repeat. On first hearing it may be tempting for the newcomer exploring the cupboards of this Kitchen to say “there is too much music”, but that is akin to saying Bob Dylan writes too many words or Jackson Pollock uses too many colours. Have patience, and this fine album will reveal its secrets to become a fully rounded listening experience, sometimes taking a similar path to its goal to that wended by Gentle Giant.
Amy Darby has one of those unaffected voices that trace a lineage of female contemporary jazz and folk singers back to Barbara Gaskin, Jacqui McShee, et al, and in places, even Joni Mitchell is brought to mind. The overall feel is of a decidedly folk-tinged Canterbury air, but fronted by the lush occasionally jazz, occasionally prog rock-styled guitar of Phil Mercy, who is certainly influenced by Steve Howe, as I intimated above, and influences do not come much better than that. When Johan Brand is adding his best pounding Rickenbacker bass sound to the mix, then the “Yes go to Canterbury” bus is well and truly on the road, particularly so with the intro to Prodigy. Suffice to say none of this is plagiaristic or intentional, and the end result is Thieves’ Kitchen and no-one else.
The female vocals and musical structure also link this band to contemporary acts across The Pond, such as the hugely entertaining Moe Tar from the USA, and Canada’s Half Past Four, two bands I can’t recommend highly enough. Mixing their jazz-inflected prog grooves with their long retained folk traits, Thieves’ Kitchen make this a highly enjoyable and involving trip.
An album to get lost in, the intricacy is combined with great delicacy on the baroque piano ballad Astrolabe and its instrumental companion, the beautiful closer Orrery, tracks that punctuate the longer vocal songs. Surrounding those two tunes we have all manner of complex instrumentation always delivered without bombast, complementing the theme of the album perfectly, which narrates stories of naturally imperfect human contact and interaction with precise science and technology.
The focal point of the album is the twenty minute The Scientist’s Wife, a tale of a spouse’s estrangement to her husband’s questing obsession, and a “long ’un” that fully justifies its length. The music drives along with purpose searching for the end goal in much the same way as the protagonist’s husband is striving for his own answer. It takes over five minutes before the “wife” makes herself heard, calming the building musical insistency to sing her lament for days past when she was the light of her husband’s eye, only to be slowly martyred on the altar of the grand experiment. Some lovely flute work from Anna Holmgren only serves to underline the melancholy…“When I sing, I sing alone; I’m fading to grey”. The experiment recommences, the band let loose amongst the unfathomable cogs and pivots. Some great guitar work from Phil bursts through the intricate turning mechanisms, before we return to melancholy, ending with “Charming strangeness, a beautiful mind” from Amy and followed by Anna’s sad flute. Quite lovely.
While One For Sorrow, Two For Joy was wrought mostly from the band’s folk influences, this fine follow-up is coming along a rockier road, but is still permeated with the old yet ageless pastoralism that the band has made their own. Dusty yet simultaneously modern, the themes and music of The Clockwork Universe enmesh perfectly. The two instrumentals I mentioned earlier in this piece for instance both refer in their titles to antique astronomical measuring devices, making a direct connection with our scientific past.
This is yet another release in the ever-increasing tsunami of releases that is deserving of your attention, and anyone with a liking for intricately crafted music with thoughtful lyrics and fine singing should invest in The Clockwork Universe. Thieves’ Kitchen appear to remain a studio-only project, which is a great shame as I for one would love to see and hear this marvellous music in a live environment.

Roger Trenwith

Within the world of Progressive music there are certain bands who have developed a distinctive sound all their own, and to my mind Thieves' Kitchen are one of those bands. This is why, for me, the arrival of a new collection of music from the band is always something to look forward to with anticipation.
I first stumbled across the band through their 2008 album 'The Water Road', the first of their albums to feature the core trio of Phil Mercy, Thomas Johnson and Amy Darby, and was immediately struck by their complex rhythms and unconventional melodies. I delved into their back catalogue and discovered the delights of 'Head', 'Argot' and 'Shibboleth', the latter being Amy's debut with the band. Soon after, the fifth album 'One for Sorrow, Two for Joy' was released, to much critical acclaim in the Prog world, and now their sixth - 'The Clockwork Universe' - has finally been unveiled, a kind of concept album 'exploring the human experience of a complex world' (according to their website).
Key to the band's developing sound is the interplay between the solid foundation of Thomas's keyboards, the driving flair of Phil's guitar work and the haunting lyricism of Amy's voice. All these are in evidence on the new collection. 'Library Song' is the opener, a love song that brings stuttering arpeggios from the keys into contrast with soaring work from Mercy alongside Darby's enchanting vocals. 'Railway Time' explores the response to the inexorable advance of technology and the changes which it brings to life's rhythms, seen through the lens of the coming of the railway to what I think is a Welsh valley. Whether it's the subject matter or simply the 'feel' of the song, this resonates with the work of Big Big Train for me, and left me wondering how Amy would interpret some of their canon. Evident on this track is the work of support musicians Paul Mallyon on drums, and Anglagard stalwarts Johan Brand on bass and Anna Holmgren on flute, who together add a further depth to the music.
The first of two short instrumental tracks, 'Astrolabe', follows - predominantly a gentle, reflective piano piece, with the guitar picking up the melody half way through. Then we move on to 'Prodigy', a more driving, rocky number to begin with which then picks up a lilting flute leading into the vocal section: a song which explores the pitfalls of ones star rising too soon in life.
The 'epic' on the album, 'The Scientist's Wife', has the most pronounced fusion edge to it musically of all the songs in this set, and tells the story of love struggling against the demands of a partner's career. There are some beautifully poignant lyrics here: "Oh, to be very young, his everything, his only eyes for me! Sealed in our universe, with lines of force we drew our destiny." "In this magnetic age he stands alone, a fame apart from me. Lapses of memory, the empty days, the empty harmonies. When I sing, I sing alone; I'm fading to grey." The album closes with the second instrumental, 'Orrery', another gentle, reflective work featuring piano and flute which invokes the image of the revolving spheres of this model solar system.
This is a quite stunning piece of work, which repays repeated listening, and grows in stature with each listen. I cannot commend it highly enough to those of you who like your music a little askew from the norm, but with virtuosity and inventiveness present in spades.

John Simms

Wandering through the web for new music is one of my most favorite pastimes. Today I’ve come across something rather interesting and felt it definitely needed sharing.
Thieves’ Kitchen has been around since ’99 and as much as I love progressive rock, I’m surprised I’ve not come across them sooner. Coming from the UK and Sweden, this 3 piece specializes in very progressive tunes with all manner of interesting world instruments sneaking into the mix.
Having recently released “The Clockwork Universe” (My first jump into their little world) I decided to check out all of their other stuff too. They seem to pull inspiration from all walks of prog and even fusion influences. Did I mention they have a female vocalist? Maybe it’s just me, but often times I find that smooth angelic vocals are one of the best elements to a truly expanded progressive experience. Thieves’ Kitchen exemplifies this incredibly well.
Considering a couple of my favorite bands are Dream Theater and Porcupine Tree (well pretty much anything Steven Wilson has had his hands in anyway…) Thieves’ Kitchen is right up my alley. I urge you to check them out if you’re into awesome prog. Sometimes you just are in the mood to have your face soothed instead of melted.
“The Clockwork Universe” will be officially released tomorrow! Physical pre-orders are available by CLICKING HERE with the digital version launching on Bandcamp tomorrow!

Logan

As a Thieves’ Kitchen newbie, listening to The Clockwork Universe starts out as a game of Spot-the-Influence: a bit of Yes here, Renaissance there, Änglagård now, Genesis later… but then it occurs to me that all of that is pointless and irrelevant. This really is an original blend. I can’t say if it’s the same blend they’ve been brewing since their beginning more than 15 years ago or if it’s an evolution or a new thing. One way or another it just works. The first thing you hear is some very subtle volume-pedal playing on the guitar, then Amy Darby’s beautiful voice and an electric piano. Neither the guitar nor the keyboards are playing simple chords, but some nicely sophisticated stuff reminiscent of something like Hatfield and the North. As things develop, Phil Mercy’s guitar develops some really tasty parts, whether legato countermelodies or soaring leads with a touch of wah-wah. Thomas Johnson’s keyboards encompass electric piano, organ, Mellotron, and classic synth sounds, and masterfully blend complex arpeggios, massive chords, and jazzy voicings, knocking them several notches up from so much of the retro-vintage work you hear these days. The rhythm section really works it too, with Johan Brand’s bass often slightly overdriven, though not as heavy as he gets with Änglagård; drummer Paul Mallyon is one of those guys whose playing just fits perfectly, not really jumping out at you, but full of tasty accents and avoiding cliches. The last part of the equation, personnel-wise, is Anna Holmgren’s flute, which gets less time than I might like – when she does appear, she provides a perfect touch of breath and warmth. Of course, the best musicians in the world are wasted if the compositions are dull, but between the words of Darby and the music of Mercy and Johnson, Thieves’ Kitchen has no worries in that regard. The lyrics are imagistic and intelligent, with unexpected phrasing and unusual metaphors, references to science and technology, and realistic emotions viewed in interesting ways. Darby also manages the difficult task of having a beautiful vocal tone but not coming off as bland, overly sweet, or stagey. Aside from giving some recognition to Mercy’s guitar work (dexterous and unpredictable), I’ll just say that my hope for progressive rock’s future is brightened a bit by hearing The Clockwork Universe.

Jon Davis

We welcome another new face the massed ranks of Progradar guest reviewers, please say hello to Kevin Thompson and his review of Thieves’ Kitchen.
We used to have a saying when I was in the RAF, never volunteer for anything. So here I am, having volunteered to review ‘The Clockwork Universe’ by Thieves’ Kitchen.
Thieves’ Kitchen are a band based in Swindon and Stockholm,who have been making progressive music since 1999. Their creative core is vocalist Amy Darby, guitarist Phil Mercy and keyboard player Thomas Johnson. They welcome a new bassist to the team, Johan Brand of Swedish progressive rock legends Änglagård, for this latest album.
Joining them on this release are friends and previous collaborators: flautist Anna Holmgren (of Änglagård) and drummer Paul Mallyon (formerly of Sanguine Hum) . The album was written and recorded in England and Sweden, and mixed and mastered by Rob Aubrey at Aubitt Studios (IQ, Asia, Big Big Train).
This is their Sixth release, having recorded five critically acclaimed albums previously, of which I must confess, have not heard any.
The band’s sound has elements of Canterbury, Folk, Fusion, Symphonic, Jazz, and Rock, producing music which, whilst adventurous, retains a familiarity. Melodic and intricate, blending both English and Swedish flavours.
The band say this is an album exploring the human experience of a complex world and these are songs about people whose experience brings them into contact with a universe of science and learning, whether as a child (Prodigy), a neglected spouse (The Scientist’s Wife), young lovers (Library Song) or as a bystander confronted with the inexorable progress of industrialisation (Railway Time). There are also two instrumental arrangements (Astrolabe and Orrery) .
Before we drill down to the ‘Nitty Gritty’ of individual tracks, can I just state this is my first ever full review of an album, for any publication and for me it is a trial by fire as, on first listen, it was not to my taste and, despite further consideration, not all the tracks float my boat. So I will try to be as objective and unbiased as possible in this review, remember this is only my opinion.
Track 1 – Library Song: Opens with some mournful guitar and slow Jazz style keyboards that increase in pace, ushering in the vocals of Amy Darby. The backing arrangement increases in complexity and I profess to enjoying some of the guitar work, and there is plenty of Steely Dan type keyboards leading to a climatic finale, but overall this it does not leave a mark on my register. I would have liked to have heard a little more excitement in the vocals as they seem too laid back and drag the track down and not the best introduction to an album.
Track 2 – Railway Time: Relaxed Keyboard intro,quickly increasing to a funky 70’s style Rock tempo, reminiscent in my mind of Rod Argent. Amy’s vocals seem better suited to this track. There is a short pleasant flute interlude which then weaves into the mix, along with the subject matter pushing this toward Big Big Train territory, which also seem to reflect in the lyrics. I also prefer the keyboard arrangements on this, to those on Library Song which, along with a flautist flourish, bring the second track to a close. I have grown to like this track more with each listen.
Track 3 – Astrolabe: The first of two instrumentals on the album and one of my favourite tracks. This has a beautiful piano which is joined by some rather nice complementary guitar. Poignant and delightful, the length giving it the feel of an interlude, which I would have liked to have lasted a little longer.
Track 4 – Prodigy: A rocky, Hammond organ style start to this which eases off to a flowing melody, once again introducing the flute which adds a touch of ‘Englishness’ to the song along with Folk and Canterbury scene elements. Amy’s vocal range is expanded a little more on this, making an entrance a third of the way through the track, but again not to my taste. The lyrics and keyboards seem quite reflective of earlier Genesis in places with this track coming to quite an abrupt end. There are parts of this that appeal, but not the sum of the whole.
Track 5 – The Scientist’s Wife: A more memorable, looping keyboard lead-in, dancing with Hammond and guitar to a good rhythm. Again some of the guitar solo flourishes sound rather good. This is the longest track and changes tempo after the first few minutes with some nice, Steve Hackett/ Anthony Phillips gentle style guitar slowing it down, to be accompanied by Amy’s floating vocals which seem more in keeping with the majority of the music on this track.
The vocal harmonising adds a more pleasant contrast and once more the flute solos play a part, lifting the track. This is one that appears to have a memorable chorus that sticks in my head a little, unfortunately the vocals on the chorus seem to echo what I don’t like in Amy’s voice, though I find it difficult to pinpoint.
Two thirds of the way through and the track rocks out a little more, the guitar and drums being let off the leash for an instrumental passage with the short interspersed vocal from Amy. It all quietens down to varied types of keyboards blended together and then the vocals return. The flute enters with some nice string arrangements and keys, to ease us into a gentle finish. Again, parts of this I like, but not the whole.
Track 6 – Orrery: Simple piano notes and what sounds like the ticking of an old clock are joined by the flute and guitar for the start of the second instrumental, and final, track of the album. (The title of this is the name given to working Solar System models). String arrangements are introduced giving it an airy feel as if watching birds in flight and is an excellent way to close, I only wish it was longer.
In summary there are tracks on ‘The Clockwork Universe’ that I would happily listen to again and some I would not. Competent musicianship flows throughout and the professionalism of the the band cannot be faulted. Amy has a relaxed, gentle vocal style along the lines of Joni Mitchell, but it doesn’t excite me and, in places, niggles. But then, I am not one to listen to Joni on a regular basis either. For me the two shorter, instrumentals with their, wistful arrangements are the best tracks and I would have been happy to hear more along these lines.

Kevin Thompson

What this album does, it does very well. The execution of this album is phenomenal, in terms of composition, arrangment, and performance. The airy female vocals work well astride the bombastic organ riffs, angular guitar lines, and ethereal flute melodies, backed up by the computational rhythm section. I find this release sets the galactic gears in motion quite pleasurably. There is music in the spheres indeed.

Can This Even Be Called Music?

Top-notch progressive rock featuring a female vocalist and flute. A modern twist on the classic Canterbury style with a delightfully jazzy flavor. Will likely please any fan of classic prog rock.

Dillon Ethier

Discazo!!!

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