Articles by Gaz Cloud
Anna Phoebe is a violinist unlike any other you’ve heard. Her long career has already seen her graduate from the Trans-Siberian Orchestra and perform as a session musician with a host of famous names. Echoes and Dust caught up with Anna and the boys for an in depth chat, covering everything from insights into their compositional process through to an exclusive on the future for Jurojin. By Gaz Cloud
Last March Gaz Cloud went to the stunning location of Hafan y Môr to witness a variety of prog artists play at the HRH Prog 3 festival. With pictures by Charlie Gardner.
“No attempt is made to bolster the piece with additional beats, and it’s truly surreal to watch a crowd of fully grown men and women jumping around to such a strange and emotive piece of music,” by Gaz Cloud.
“Full of light and shade, Ulrich is never afraid to bring forward proud major triads; this is a trip to enjoy, not endure,” by Gaz Cloud.
“Perhaps a longer set would have allowed for a greater dynamic range – simply adding this to Monomyth’s set could see them matching the premier league of post-rock bands for their live show,” by Gaz Cloud.
There’s been a lot of debate of late about how much of the new wave of progressive rock can be genuinely deemed “progressive”. Put that discussion to one side for 51 minutes and allow M-Opus to take your breath away, musically. By Gaz Cloud
‘If you’re not into time signatures, this isn’t the band for you’ – Gaz Cloud & Charlie Gardner talk to Kavus, Charlie & Josh from Knifeworld
It’s hard to argue with a band’s own categorisation but, whilst Thalassas is many things, progressive it is not. This could be said to be true of much “progressive metal”, but the technical leanings expressed here are all show. By Gaz Cloud
“Make no mistake: The War On Drugs are one of the most conventional bands you’re likely to hear. The appeal lies in the nuances, and live their sound is even more nuanced than on their carefully constructed studio albums,” – By Gaz Cloud.
History Of The Future Part 2 shows off The Orb as national treasures: one of the most consistently surprising and delightful acts out there. By Gaz Cloud
The pair end their set and this chapter of their illustrious career with Coolicon, a Carter Tutti track. Although nearly two years old now, this sounds more dangerous and immediate than anything in the preceding hour. It’s a thrilling end to a somewhat workman-like show from the legends and bodes well for their forthcoming album – the future is bright for Carter Tutti. By Gaz Cloud
Worthington uses tracks like chapters, a more conventional structural approach that belies the aesthetic otherness of the material. By Gaz Cloud
The compilation ends with a reworking of a track from Luigi’s own Deep Blue EP, arguably the label’s best release to date. Edit Select adds a dark, brooding yet somehow housey vibe to ‘Sub-Photic Zone’. It’s a stunning end to a compilation that makes a compelling case for falling under the spell of the Hypnus “adepts”. By Gaz Cloud
The Good Ship in Kilburn, a bastion of North West London’s indie scene, hosted three consecutive nights of Independent Venue Week this year, with Rumour Cubes joining AK/DK and a wealth of other talent for the venue’s personal culmination of the festival, on a bill put together by post-rock record label and promoters Nice Weather For Airstrikes. By Gaz Cloud
It’s this haunting emptiness that makes Snow Ghosts an appealing proposition. One only hopes that this isn’t lost as the trio hone and develop their sound. On A Wrecking, Snow Ghosts have the balance between the experimental and the conventional just about right. By Gaz Cloud
It is not often that we are moved to post an obituary here on Echoes And Dust but then it is not often that an artist passes away that has had such a palpable influence on so much of the music we love. Here, Gaz Cloud gives a personal reflection on the loss of one of the Twentieth Century’s most important musicians.
The album closes with Your Remains, pairing a ‘cello and buzzing synth alongside a stuttering breakbeat. It’s a chaotic and cathartic close to a fine album, albeit one with as many troughs as peaks. By Gaz Cloud
Hayman’s best work has always been based on what’s left unsaid. When questioned about the source material, Hayman replied “I think we are in troubled times. I regard these as useful lyrics.”…this is not a co-option of left-wing ideas to simply benefit the artist; but a heartfelt, tender release. By Gaz Cloud
Long Year displays a lot of promise for The Anchoress, but as an EP, One For Sorrow doesn’t feel like the finished article. Hopefully it’s a stepping stone en route to grander things for Davis and Draper. By Gaz Cloud
Noise is technically the degradation of an otherwise clean transmission. By this definition, there’s a lot more signal than noise present on this accomplished album. By Gaz Cloud
On the strength of Songs From November, it would be unfair to dismiss Morse as a songwriter and it’s a real shame the ideal audience for this material will surely never hear the work. Ardent prog fans, on the other hand, will come away from the collection disappointed. – By Gaz Cloud