Where We Stood (Blu-Ray)

SKU: KSCOPE535
Label:
KScope Records
Format:
BLU-RAY
Region:
Region 0
Category:
Post Progressive
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"The Pineapple Thief are a band that I have dabbled with over the years without giving their catalogue the attention it deserves, despite being drawn to Bruce Soord’s work many moons ago via a Cyclops Records sampler featuring tracks from his previous band Vulgar Unicorn. 2016’s Your Wilderness album was something of a game changer, the introduction of Gavin Harrison – one of my favourite drummers – into the line-up giving my interest in the band’s music a major boost.

Recorded at the Islington Assembly Halls in February 2017, Where We Stood captures the current Pineapple Thief live line-up, featuring King Crimson and ex-Porcupine Tree man Harrison and Godsticks guitar maestro Darran Charles, in all its glory.

Understandably focusing on tracks from Your Wilderness, upon which both Harrison and Charles played, 15 cameras were used to capture the final date of the tour in front of an enthusiastic sell-out crowd. With the frontline of Darran, Bruce and bassist Jon Sykes, with Steve Kitch’s keyboards and Gavin on risers behind, the traditional stage of the Assembly Hall enables the band to be framed beautifully, enhanced with sympathetic and astute lighting. From the off the band look comfortable, Bruce playing acoustic initially, the additional meat thrown in by Darran and Gavin’s deft contributions kicking it all up a notch. The camerawork picks up all the intricacies of the presentation, with some fantastic positioning and organic movement to accentuate the quality of the performances. The sound is also pristine and this is immediately an engaging live capture.

I’m not going to go into great detail about the show itself as this was covered in TPA’s review at the time, which you can read HERE). The Your Wilderness material comes over much as you would expect, but it is the earlier songs, like The One You Left To Die and Simple As That from Magnolia, Part Zero, Show A Little Love and Nothing At Best, which really benefit from the increased intensity of the current band, also Snowdrops, the lighting underlining the intimate nature of the venue and highlighting the obligatory section of audience participation. Throughout though, it is the quality of Bruce Soord’s songs which shines through, this line-up giving them the polish that they deserve.

The instrumental passages are given a sharp kick in the nether regions with the added firepower and you get the impression that this is what Bruce wanted TPT to sound like all along. It’s professional without being clinical and there’s a real affinity for the music which has evolved as a result of these reinterpretations without straying too far from the originals.

Having Gavin on board is a real coup, as anyone who has seen him play will attest, particularly his recent work leading King Crimson’s barnstorming triple drummer frontline. His skills, technique and knowledge of his art are undeniable, and the same can be said for Darran, an exemplary technician with a unique instrumental voice, but this is far from being all about the additional talent, the core TPT members more than pulling their weight with the band working as a cohesive whole.

Every now and then between the songs we cut to brief interview snippets with Bruce, Jon and Steve where they reminisce about the beginnings of TPT, Darran appearing to explain how he got involved, and Bruce’s thoughts on the Islington show, their biggest headlining gig to date. This will for some be a disappointment I’m sure as it could be seen as breaking up the flow of the performance, however I think it works well, putting the concert footage in context and adding to the variety, although how many repeat plays before you’ll be skipping through the interview segments to get back to the music…?

The Deluxe version is crammed full of all kinds of extras (see below) making for what Soord believes to be “without doubt the definitive Your Wilderness release”. Included is a behind the scenes tour documentary, a concise and enjoyable record that takes in the excited anticipation of the fans, the obvious camaraderie within the band (despite Darran’s assertion that it’s all built on “hatred and spite”!) and the family feel with the crew who describe some of the issues involved in putting on a tour of this nature. As expected, the quality with which it is all put together makes for a highly professional document. And is that a fleeting glimpse of TPA’s very own Leo Trimming right at the end, poised to record his thoughts on the show he is witnessing?

Overall it’s a classy performance by a band that have truly taken it to the next level and, if it hadn’t been delayed until after the event, Where We Stood would be a worthy appetiser for the current run of shows with this line-up happening across Europe in Germany, Poland, Czech Republic and the Netherlands, culminating in two shows in the U.K., in London and Bristol." - The Progressive Aspect

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  • "Founded in 1999 and evolving into a band that main man Bruce Soord has called “greater than the sum of its parts”, The Pineapple Thief have  never been afraid to challenge the vision that they are a prog band. One which has existed  on the periphery awaiting the real breakthrough moment. Their 11th studio album sees them setting an ‘ever onward’ course.Following the bite sized chunk trials of 2014’s ‘Magnolia’ with its more mainstream orientation, comes the album described as “a joy to make.” Not often you hear that making an album has been effortless.  Perhaps inspired by the drumming contribution of the excellent Gavin Harrison, fresh from his experiences with King Crimson, or the clarinet contributions of Supertramp’s John Helliwell, or even the string quartet and four piece choir, they combine to cast a different hue  on  the The Pineapple Thief canvas.  With Darran Charles from Godsticks adding some guitar, it’s an all star cast that alongside the core unit, have combined  to create  an album which adds to their already inventive catalogue of work.Bruce Soord’s recent collaborations and production duties, particularly with the darker progressive and metal tendencies of Opeth and Katatonia, and in particular the latter’s acoustic adventures, may have also had an influence and played their part in his thinking. Fans may also be encouraged to hear he’s rediscovered his progressive roots which all adds up to what  on paper has the potential to drive TPT into another dimension.  Not only does it sound good, with Soord’s growing reputation as a 5.1 specialist doing wonders with the sonics, but it looks good too. The album concept gets played out in Carl Glover’s expansive artwork which compliments the musical and lyrical journey of a parent and child,  unfolding slowly   to chronicle a  tale of love, fear, estrangement and reconciliation.Soord has called ‘No Man’s Land’, the track assigned as the album teaser, “a tale of two halves.  It’s short but progressive and 100% The Pineapple  Thief”  – an apt description  which applies  to much if not all of ‘Your Wilderness’. It’s preceded by ‘In Exile’ which not  only sets the scene but, possibly with the help of the distinctive yet subtle Harrison drumming,  moving TPT into the frame as the band most likely to take up the mantle from oner of Harrison’s old bands – another PT, Porcupine Tree.  The void created by their regrettable  absence in the wake of the Steven Wilson solo career juggernaut  could well be on the way to being filled.A wistful ‘That Shore’   takes a turn towards the delicate and fragile, echoed on ‘Fend For Yourself’ with the Helliwell clarinet floating over the low key choral backing. Intense without being overbearing , it all fits with the album template yet for those who like their progressive music  to run a little longer there’s ten minutes of ‘The Final Thing On My Mind’ to dissect. Easy to say it’s the centrepiece because of the extended format but in all honesty it is an impressive composition. After building for four minutes, it could easily draw to a close to be another ‘short but progressive’ number, but it finds a natural conclusion in an extended arrangement which develops towards a second crescendo involving the sort of dynamic intensity which rarely pays a call, yet  allows for a more significant  impact when it does. The emphasis remains on the unpretentious and creation of atmosphere containing moments of controlled energy; a pattern which is at the core of an absorbing and introspective set which flows gently through  the forty minute playing time.The Pineapple Thief seem to be  making an art form of the short but progressive style, stepping up to the plate for consideration as a band who have slowly developed into genuine contenders." - Louder Than War
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  • "It's been sometime since I've had a Long Distance Calling album cross my desk, nearly five years. The German band returns with their fifth album, Trips, and another new vocalist in Norwegian Petter Carlsen (Pil & Bue). Keyboards, piano and electronic sounds are performed by Marsen Fischer. Yet, as usual, Long Distance Calling's music essentially revolves around instrumental collaboration.In some sense, Trips is familiar territory for listeners. LDC continues to juxtapose atmospheric and etheral soundscapes with brisk and often bracing riffage, with light and lilting vocals floating over them, as least when they see fit to add them. Mostly, Long Distance Calling reminds me of progressive rock past and present. You might hear echoes of Pink Floyd or Kraftwerk, Anathama, Tool, and Muse in their sound. At one time they kind sound like pop infused trance music with an Eighties vibe as with Getaway. Then they can bring some of those crushing riffs in guitar-forward arrangements, feeling both heavy and brisk, even anxious as with Reconnect and Trauma. Yet the latter has one of LDC's characteristic wandering melancholy breakdowns in the middle. And even more rapid fire presence and pace come within Lines, with lighter moments given for the vocals.While it seems most everything is guitar and riff driven, a song such as Momentum is carried by the rippling groove of the drums. Everything else, including the guitars, seems to ride upon the crest of each wave, foaming and churning as the drums cascade along. It's just an example of whole good LDC is at making even instrumental prog rock accessible. Mention should be made of the closing number Flux. It also features much of the LDC signature sound, yet there's something more subdued and gentle about the guitar work in the first half, before it yields to something akin jazz rock fusion guitar. It was a subtle thing to my ears. You might describe it differently. Suffice to say, it's another representation of LDC's sublime and deft song composition. The only bump here is the song Rewind, which basically sounded like, well, nothing. Nothing with vocals that is.Nevertheless, the conclusion to all this is simple. With Trips, Long Distance Calling has delivered another enjoyable album of (mostly) instrumental melodic progressive rock, perhaps even more accessible than past works. Recommended." - Dangerdog.com
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  •  Fascinating new post-rock from this Swedish band sporting at least one familiar name!WALRUS THE BAND: Renowned film music composer and piano player Matti Bye on Hammond & Farfisa Organs, Mellotron and Wurlitzer Piano. The Tiny and Gul 3 member Leo Svensson on Cello and Minimoog. Producer and composer Kristian Holmgren on Electric Bass and Fuzz Bass. Mattias Olsson of Änglagård on drums, with Henrik Olsson of Gul 3 and Harr joining him at their double drum kit, The Sprawl."Exciting new album from Sweden that mixes retro progressive with classic Krautrock sounds. Opening track 'Tromso III' gets the motorik running with a steady beat and analog keyboards layered on top. The real party begins with 'Signals', a haunting organ and violin led piece. Heavy bass and drums propel the track forward in an exciting way. Bleeping synthesizers are dropped on top to create a truly psychedelic atmosphere. But it's the 14 minute 'Spitsbergen' that really places Walrus in the big leagues. Starting out in Ohr music territory, with a decidedly funereal backdrop of organ, synthesizers, bass and plodding drums - the composition suddenly comes alive with an insane and massive fuzz bass attack followed by swirling organ and mellotron . If you don't fly off your couch and put a fist through the wall, then you are... ... legally dead. Very few bands ever capture a perfect moment like that. What a stunning song." - Tom Hayes/Under The Radar CDs
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  • Ambient/prog reworking of Dead End Kings arrives in a limited edition 2 disc digibook.  You get the CD version as well as a DVD featuring a 5.1 and 24 bit hi-resolution stereo mix."After last year’s successful release of their 9th full-length Dead End Kings, Katatonia have returned with a special release entitled Dethroned and Uncrowned. This album is special for two reasons. Firstly, it was brought to life with the help of the so-called ‘Katatoniacs’; that is, the fans were the ones who financed this project through a pledge campaign the band had set up where fans could pledge for various album formats and other items such as drumsticks, lyric sheets, posters, backdrops and even one of Anders’s old guitars. Needless to say, the pledge campaign was highly successful and reached its goal in four days. Secondly, the album is special music-wise, as it contains the same tracks that were found on Dead End Kings, but all of them have undergone a major makeover. As Katatonia wrote on their website: ‘the drums will be dethroned and the distorted rhythm guitars will be uncrowned’. What they have basically done is that they have kept the vocal lines intact but have experimented with the rest of the music, creating stripped-down, semi-acoustic versions of the songs with the focus on ambience and atmosphere, showcasing the band’s progressive song-writing talent. Katatonia have masterfully and rather elegantly transformed the songs into totally different entities and have given themselves as well as the listeners the opportunity to discover different aspects of each track, by adding little interesting details or emphasizing some parts that were not as noticeable as in the previous version, like the Jan Johansson-esque piano touches in ‘Leech’, or the 70s prog vibe in ‘Dead Letters’. All in all, Katatonia have managed yet again to create a beautiful, melancholic and touching piece of work that will certainly fulfill the expectations of the majority of their fans. Those who were not very keen on Dead End Kings (if such people exist), might enjoy some of the songs in their new versions, and, who knows, they might even appreciate that album a bit more after listening to this." - Metal Recusants
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  • CD/DVD in a digibook.  The DVD is the complete show and the CD maxxes out due to the time limitations."In May 2012 Anathema released Weather Systems, the most acclaimed and successful album of a career that has spanned over two decades. The album scored high in numerous critics end of year polls around the world and cemented their reputation as one of the most exciting and progressive bands around. Following the release of the album, the band embarked on a lengthy world tour. The European leg of the tour opened with a triumphant one-off show at the ancient Roman theatre of Philippopolis with the Plovdiv Philharmonic Orchestra in September 2012. Directed by celebrated filmmaker Lasse Hoile, Universal captures the magic of the event ."
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  • "Norwegians Gazpacho never fail to serve up something a little different, and Molok is no exception: apparently, it is an album capable of destroying the universe. How could this possibly be the case? Well, a strange noise at the end of the record will cause the correction software in CD players everywhere to generate a random number every time the CD is played – and if that number corresponds to the actual position of every electron in the universe, theoretically the universe could come to an end. If that sounds far-fetched, you might want to go away and Google the Quantum Zeno effect. Oh, and don’t tell your mum. She’d only worry. Actually, perhaps it might be safer to play the vinyl edition?Theoretical – and potentially universe-threatening – particle physics aside, Molok is another conceptual offering from Gazpacho, who have been making it a habit of this approach for some time now: their previous five albums have also been conceptual in nature. This time around, the story upon which the album is an early twentieth century fable about a man who notices that whenever the human race worships a god, they are worshipping stone, in some form – the god seems to be chased by his followers into stone, never to return, hence explaining why God seems to have become incommunicado. Consumed by this idea, and by the notion that physics provides a means of projecting the movement of everything in the universe into the past or future, the man builds a machine to calculate the past and future, a machine which he christens Molok. As the machine swiftly becomes self-aware, the man realises that his work may expose things that are best left unknown…Molok is perhaps not as bold and uncompromising in its approach as the band’s previous album Demon was; but then, nine albums into their career, this is a band who no longer have anything to prove. In many ways, despite its subject matter and its often unnerving feel, Molok is a more musically forgiving record. Whilst Demon was a much starker record, its powerful progressive rock tendencies framed by introspective solo spots and restrained duets, Molok is less aggressive and more obviously band-oriented, all of the tracks being very much ensemble pieces all the way through. For those familiar with Gazpacho’s previous work, the general effect is of something that sits almost exactly halfway between Night and Missa Atropos, with some of the flavours of Demon, and the more song-based structure of their earlier albums, notably Firebird. Those not familiar with Gazpacho’s music should expect something that sounds like Pink Floyd and Marillion fed on a diet of post-rock, world music and Balkan folk.Like its siblings, Molok reveals its secrets slowly, almost reluctantly. Gazpacho’s albums tend to be slow-burners that overwhelm on first listen, so loaded with imagery that your mind struggles to find something to anchor itself to until it has heard the record several times, and Molok is no exception. It opens with sinister tribal drumming, but it’s not long before the familiar smoky vocals of frontman Jan Henrik Ohme and the lush keyboard work of Thomas Andersen enfold those familiar with Gazpacho’s sonic universe in a warmly familiar embrace. This first track, ‘Park Bench’, builds from simmering unease to grandiose choruses and a thundering, powerful climax with an ease born of a musical telepathy developed over the years. Swells of organ, church bells and who knows what else join the fray; most bands would fumble juggling these seemingly disparate elements, but in Gazpacho’s sure hands the whole never tumbles out of control.‘His Master’s Voice’ is a sinkhole of simmering unease, whilst ‘Bela Kiss’ is positively playful – its jaunty rhythms interspersed with frantic Balkan folk-style breakdowns that really give multi-instrumentalist Mikael Krømer and guest musician, accordionist Stian Carstensen, a workout. Carstensen amply displays the reasons why the band asked him to contribute to the record, whilst Krømer is, as always, Gazpacho’s secret weapon, grounding their modern sound to earth and lending it a timeless, arcane quality. This is music that simultaneously sounds like it was written today, and a century ago: entirely appropriate for the subject matter at hand.‘Know Your Time’ is much more familiar ground: an initially bass-driven progressive rock behemoth that utilises the band’s unerring sense of dynamics to unfurl into a Marillion-esque keyboard-drenched epic that ranks among the very best songs the band have delivered to date. Special mention also has to go to Lars Erik Asp’s drumming, which is particularly powerful here, and Jon Arne Vilbo and Mikael Krømer’s soaring dual-solo spot, that successfully echoes the best work of Marillion’s Steve Rothery, long a touchstone for the band. All this, and the album is barely halfway through.‘Choir Of Ancestors’ returns to a more introspective feel – Ohme’s vocals as intimate and heart-stopping as ever – as the song examines the human ability to keep moving forwards, no matter the odds or the sense of futility. The track acts as an oasis of calm between two more musically ambitious tracks: it is followed by ‘ABC’, which namechecks a number of human endeavours to measure time and man’s place in the universe, showing that Molok’s creator is just the latest in a long line of antecedents.Those listening on CD are given a further treat at this point in the form of the moody instrumental ‘Algorithm’, which possesses a mesmerising groove – it’s a brief but welcome and highly effective interlude between the body of the album and the closing two tracks, which are Gazpacho in excelsis, containing all they do so well. The eerie yet anthemic ‘Alarm’ is positively filmic in its lush storytelling, building to a series of peaks separated by limpid pools of gliding bass and tinkling keys. Once more, Ohme is at his very best here: his highly emotive voice given the space to breathe by the band before lending wings to their musical ambition.Grand finale ‘Molok Rising’ opens with a surprise: a selection of the world’s oldest known instruments, the ‘singing stone’ or Skåra stone and a variety of stone percussion, moose jaws, flutes and stringed instruments, all carefully reproduced and played by Norwegian musical archaeologist Gjermund Kolltveit. Kolltveit’s intriguing contributions flow easily into one of Gazpacho’s darkest tracks to date, equal parts The Doors’ ‘The End’ and Floyd’s ‘Yet Another Movie’. A dark cloud of synthesiser hovers over an icy lake of clattering drums, eerie percussion and chiming guitar as Ohme narrates the grand finale, delivering the coup de grace against a background of clocktower chimes and ticking clocks. Is time running out for us all? No spoilers here for those intrigued by the album’s central conceit – it’s far too good a tale to post a spoiler here – but it’s an ending that will definitely leave you pondering the implications of the tale and most likely have you hitting ‘Play’ again whilst you’re about it. But do let the album finish before returning to the beginning – you wouldn’t want to miss your chance to destroy the universe…Molok is, in its own right, a deeply impressive piece of work. Conceptually intriguing, instrumentally beguiling and emotionally powerful, it’s beautifully composed, played and produced – another practically flawless entry in one of the most consistent back catalogues in modern progressive rock. Like all of Gazpacho’s albums, it rewards familiarity but never loses its initial frisson. As with so much of their work, this is definitely an album best heard in the dark, over headphones with no distractions; it may still sound hugely impressive in the light of day, but away from the sunlight it casts its own very specific and potent spell. History will record this band as one of the most relentlessly adventurous and eclectic progressive rock bands of recent years, but for now Gazpacho remain one of the best-kept secrets of modern progressive rock, and Molok numbers among their finest achievements." - Echoes And Dust
    $9.00
  • Klone is a French band that has been kicking around for 20 years.  Their sixth album, Here Comes The Sun, finds them changing course adding a more progressive element to their sound.  The music is very melancholy but spacious...quite beautiful in fact.  Think in terms of the mellowest Riverside tracks, Katatonia's unplugged release, Anathema.  In fact quite a bit of this has a similar vibe to their French compatriots Cloverseeds.  Very immersive sounding music that is predominantly about mood but as you scratch your way past the veneer you'll hear all the progressive elements that are lurking underneath.  Quite superb and a 2015 top 10 candidate.  BUY OR DIE!"One spin of this disc and the irony of the album title will loom large; ‘Here Comes The Sun’ is not a record full of funeral doom, black metal or brutal death but the content is certainly dark, bleak and paints vistas in the mind of the listener upon which it would be difficult for the sun to penetrate and cast it’s warm glow.The Poitier-based quintet have been steadily building a following over the course of their 20 year career, with previous albums garnering a fair amount of praise and critical acclaim in the process. However, with ‘Here Comes The Sun’, their sixth album, French progressive rock/metal band Klone have arguably created their finest moment to date, an intense and melancholy affair that isn’t afraid to bare its teeth when the need arises.Klone are not a band that has been content to stand still and recreate the same album each and every time. But then neither has their evolution been full of stark contrasts; instead the talented Gallic bunch have appeared content with a slow and gradual evolution that has seen them shake off a large amount of their more extreme heavy metal influences in favour of a more challenging, almost minimalist mélange of styles centred around more rock-based climes.Sitting at the heart of the music on ‘Here Comes The Sun’ is vocalist Yann Ligner who has a very intriguing style. On the one hand, he has a fragile-sounding clean approach that’s full of emotion and fleetingly reminiscent of Jonas Renkse of Katatonia. On the flip-side, Ligner is able to belt it out with some real power. It’s here that the gravel in his voice becomes apparent and, coupled with his phrasing and intonation, he heavily calls to mind the late Kurt Cobain. Given the fact that I have a strong dislike for grunge, it surprises me quite how much I enjoy Ligner’s voice. Having thought upon it long and hard for a few days I think it comes down to a combination of factors: there’s variety in Ligner’s delivery that shifts to suit the changing moods of the music and perhaps more crucially, I connect with the strong compositions themselves unlike with the vast majority of grunge.And that brings me nicely onto the subject of the music itself which I have to admit is of the highest order. In fact, in the form of ‘Nebulous’, ‘Here Comes The Sun’ features one of the very best songs that I have heard in 2015 so far. It’s one hell of a piece of music which has got me thoroughly addicted. Beginning quietly with a magnificent bass line overlayered with some subtle guitar melodies, it soon delivers a chorus to die for. Ligner croons over a hook-filled and inspired section of music that is achingly beautiful, poignant and catchy as hell. The mid section of the song introduces some post-rock influences before the track reaches its conclusion via another burst of the chorus. It sends shivers down my spine every time and I cannot speak highly enough of this song.Importantly, the remaining nine songs on the album are no slouches either, although I have to say that the cover of ‘Summertime’ that closes the album is my least favourite moment. It’s an interesting version of the classic upon which Klone have stamped their personal mark, but I’m simply not a fan of that song if I’m being entirely honest.In terms of the original material on offer, ‘Here Comes The Sun’ opens up with ‘Immersion’, a real grower of a track that starts off with a quiet melody and modern sampled sounds over which Ligner puts in a mesmerising performance. Big, hypnotic and ominous metal riffs join the fray as the track inexorably builds towards its conclusion. Post-rock/metal influences loom large but it is the power of the driving central riff that carries the song wonderfully without ever fully succumbing to the explosion of sound that threatens to materialise. I’m not normally a fan of brass instruments in my rock music but Mattieu Metzger’s lead saxophone actually adds another positive dimension upon its entry towards the tail end of the track.A feature of Klone’s music is an impressively strong rhythm section, courtesy of drummer Florent Marcadet and bassist Jean Etienne Maillard. Both put in impressive performances but it’s Maillard that catches the ear most of all, thanks to some intricate and genuinely inventive bass work throughout the entire album. I could pretty much pick any song but just take ‘Fog’ as an example of what I’m referring to.‘Gone Up In Flames’ is the closest that Klone get to the mainstream thanks to a cheeky, almost up-beat melody. It is also here that the aforementioned grunge influences come most to the fore. ‘The Drifter’ has a demonstrable prog rock vibe that is vaguely reminiscent of the likes of Riverside and more recent output from Long Distance Calling. Once again the bass is prominent within a very atmospheric composition that benefits from a strong sense of melody and a clever use of shifting dynamics which allows the track to ebb and flow smoothly. ‘Gleaming’ is an instrumental piece that is heavily influenced by recent Katatonia, especially in the tone and delivery of the lead guitar lines courtesy of messrs Guillaume Bernard and Aldrick Guadagnino. However, despite its short length it covers a lot of ground including a brief dabble with ambient sounds.This ambient influence is largely understated within ‘Here Comes the Sun’ but is never far from the surface, meaning that many of the songs are interspersed with gentler, calmer moments to increase the sense of bleak drama that pervades throughout. ‘Come Undone’ is another personal favourite thanks to another gorgeous central melody whilst ‘Grim Dance’ is basically a monster that smoothly blends the best elements of the band and distils it into a single track. The original material is then concluded with ‘The Last Experience’. The longest track on the album, it is also one of the darkest and most claustrophobic, culminating in a post-rock crescendo which comes crashing down in a jarring and deliberately uncomfortable dystopian-esque blaze of static noise.Despite the bleak and grim visage, as the album concludes, I am also left with a vague sense of hope and maybe, going back to the title of the album, it’s here where the glimmer of the sun can be glanced. It may be fleeting and gone in the blink of an eye but it’s definitely there. And perhaps, therein lies the magic of this album. On ‘Here Comes The Sun’, Klone have combined brilliant songwriting, unfaltering execution and a willingness to experiment both musically and lyrically to create a collection of diverse, challenging and evocative soundscapes for the modern world. Highly recommended." - Man Of Much Metal
    $16.00