CD Review: Karnataka - The Gathering Light

Tuesday 9th March: It's still early in the year, but I think I've come across an early contender for my album of 2010.

There is, possibly, an argument that Karnataka should not exist as a band. After all, the only remaining member of the original line-up is bassist Ian Jones (admittedly a founder member) while most of the rest of the originals now reside in Panic Room and The Reasoning. It may be more than five years since the band originally dissolved but Jones' new line-up finally released their first album, The Gathering Light, in February.

The album opens with a short but atmospheric piece, The Calling, in which the seemingly ubiquitous Troy Donockley plays Uillean pipes over the sounds of a rainstorm, before launching into the nearly nine minute instrumental. Building slowly though an opening vaguely reminiscent of Pink Floyd's Keep Talking, State Of Grace soon bursts into joyous life and maintains that tone throughout the track, eventually bringing to mind the extended instrumentals of the live releases from Genesis.

Over ten minutes into the album, we are finally treated to Lisa Fury's superb (and somewhat Judie Tzuke-like) vocals during Your World. Behind Fury's lyrics, guitars and keyboards weave around each other while a simple but effective drum line and, for me, the most noticeable bass on the album, provide a strong backbone to the eight minute track.

Moment In Time starts off as a much quieter, ballad-like track, supplemented by a string quartet. However, about three minutes in it becomes a more traditional prog rock song, replete with screaming guitar leading into more pipes, which give the track a very Celtic feel, before ending subtly with keyboards and strings. In another arrangement, I could easily see this being a song for the likes of Westlife. (I can even pinpoint the exact time that the boys would rise off their stools.) That's not to denigrate what is a very nice song.

Next up is a ten-minute-plus epic. The Serpent And The Sea starts with an almost dark sound against a background of chimes, before reverting to another lively tone. It includes a lovely vocal mix and Fury's lyrics somehow brought to mind fantasy epics. Towards the end, an instrumental section takes the form of darker guitars counterpointed with light keyboards, before high noted guitar takes over and builds the song to a memorable climax.

During the first part of three-part Forsaken the guitars and keyboards take are placed backstage behind strings and a much deeper and mellower style of vocals and strings in a much slower song than any of the others on the album. The instrumental part two includes some soaring harmonies and the best of the drumming, while part three reverts back to strings and piano.

Another change of style is seen in Tide To Fall, in which Eastern influences. a catchy tune and bright lyrics are mixed together to form an almost-pop song which somehow doesn't feel as out of place as it maybe should.

The album ends with it's title track, a fifteen minute epic once again opened by the pipes which eventually explodes with passion and builds to a stunning crescendo before fading into a beautiful ending.

Granted the album is not without its faults - some of the lyrics are a but repetitive and there are some places where the programmed music is, for me, just too obviously that - but this is a superb album. The use of strings and distinct musical movements within the songs mark it as symphonic rock, while the Uillean pipes give it more than a slight air of Celtic rock. The overall style of music, however, is definitely melodic progressive rock, while the overall tone makes it one of the brightest and most uplifting prog albums I have heard in a very long time.

Track Listing:

1: The Calling

2: State of Grace

3: Your World

4: Moment In Time

5: The Serpent and The Sea

6: Forsaken

7: Tide To Fall

8: The Gathering Light

Musicians:

Ian Jones - bass, keyboards, piano, bass pedals, percussion, bodhran, programming

Lisa Fury - vocals, percussion

Gonzalo Carrera - keyboards, piano

Enrico Pinna - lead, rhythm and acoustic guitars

Ian Harris - drums

Guests:

Troy Donockley - uillean pipes, whistles

Hugh McDowell - cello

Philippe Honore - violin

Bridget Davey - violin

Jane Fenton - cello

Clive Howard - viola

Rising Stars In The Dark

Saturday 6th March: It was a bit of a stretch finding room to do everything I needed to do today but, in the end, it was no panic. (I'm sorry, I just couldn't resist...)

First up at the Duchess tonight was Chris Johnson, ex-many bands and current guiding force behind Parade. Tonight he was strictly a solo and acoustic act, although with lots of reverb on the vocals. Chris treated us to solo versions of Start Again and Ending, from Parade's album The Fabric, as well as songs from his solo repertoire and one from his time with The Evernauts (the band that eventually became Hazzard County) which was the story of Lucifer being kicked out of heaven disguised as a syrupy country love song. Chris always seems to me to be a little uncomfortable between songs, rarely looking the audience in the "eye". This doesn't really matter, though, as it's the music we are here for and, tonight, Chris provided us with a very entertaining set. This is one artist that I like more every time I get to see him.

Completely different in tone and style, Blaze Camero are a four piece rock band from Knaresborough. Their music is not quite heavy metal but certainly loud, powerful and fast. Vocalist James Plummer has a very strong voice, and a cheeky sort of charisma that makes him a near-perfect front man. For a young (and new - as far as I can tell, their first gig was only in November last year) band, they played incredibly well and seemed to have the crowd, large numbers of which it seemed were there just to see them, fully entertained. Unfortunately, there is currently no music uploaded to the link above, but the band have a 3 track demo CD out next month and it should be well worth a listen. Definitely a band to look out for and I hope they play York again soon. The only thing bugging me about the band is that I'm sure I've seen bass player George Tyreman somewhere before but can't for the life of me think where.

Finally, Panic Room took to the stage. Their first album was my favourite release of 2008 and last year's follow up was a close second behind Transatlantic's The Whirlwind, so it's fairly safe to say that this was the first essential gig of 2010 for me. There were a few familiar faces in the audience but, thankfully in a way, there was also a lot of new, younger ones, proving that prog might have a future beyond its cliched audience of middle-aged men. (Yes, I know that I'm a cliche...)

Tonight's set, if not identical to last year's gig at the same venue, was a near as damn it and featured songs from both Visionary Position (sadly, still no Firefly) and Satellite, as well as a full band makeover of Blood Red Sky, from Anne-Marie's solo EP, The Contact. Anne-Marie herself, stunning as usual, seemed to be struggling a little bit with the vocals to start with - the sound during opener Freedom To Breathe was a little muddy - but, as the set went on she grew in strength and, it has to be said, gave it her all during a hundred minute set in which she, vocally at least, carried the whole show. Whether it's the playful I Am The Cat or the powerful Dark Star, her voice is nothing short of amazing. Paul Davies does now contribute a few backing vocals - I can't remember whether he did last time around but Anne-Marie did make a fairly big deal out of the fact that he was helping her out. However, it's his guitar-playing that he's really there for and tonight he was superb, his facial contortions showing just how much effort he puts into the playing. Once upon a time, I was impressed when I saw a five-string bass. Alun Vaughn, however, blew that out of the water by playing not one, but two six-string basses, providing (along with Gavin on drums) some superb rhythm sections. In some ways Jonathan Edwards is the quiet man of the band but his keyboards are the mainstays of many of the best of the band's songs.

When I last saw Panic Room, Satellite had yet to be released. Now that I've had the chance to familiarise myself with the album the live set is even more stunning than it was then. (Even if favourite songs are missing from it. Have I mentioned that before?) Panic Room remain one of my favourite bands, both recorded and live.

A Young Favourite in a New Venue

Thursday 25th February: For me, at least, live music in York is beginning to kick into high gear. (Just wait until you see how many posts I make if I get to all the gigs I have pencilled in for March...) Tonight circumstances beyond anybody's control mean that it's just me and Roy out to see an old (but young) favourite in a new venue.

In what seems to be a trend at the moment, we arrived after tonight's support act had already started. Jess Gardham is a singer songwriter from York who began writing songs at the age of 12. As we entered the Duchess she (and her band) were playing a keyboard-heavy song, the title of which we missed, which immediately grabbed our attention and reminded Roy of Tracy Chapman. At the end of that song, Jess announced a couple of more "funky" numbers, which initially put us off slightly, but I'm happy to report that they weren't that funky and were still pretty entertaining. Jess plays acoustic guitar and was accompanied tonight by Charlie on keyboards (when he wasn't wandering around in the crowd), Emma (I think) on drums and a bass-player whose name I've completely forgotten but whose smile lit up the stage. Her MySpace page lists her style as acoustic/folk/R&B, so I was slightly surprised when the one cover version in her set was the Black Eyed Peas Where Is The Love. If I were forced to pick a favourite Peas song, that would be it and it was interesting to see it performed in a completely different style. With a clear voice, an obvious enjoyment of being on stage and some very nice and varied songs, Jess becomes the latest in a long list of artistes that I wouldn't mind seeing again. A debut album is available (sadly, I missed buying it on the night, but I'm working on it) and I believe another is on the way. Jess also plays regular acoustic sets at York's Living Room on Thursday nights and Sunday afternoons. Well worth checking her out.

Tonight's main act was The Chantel McGregor Band and, as part of The Awakening tour, appears to be the beginning of a new stage in Chantel's musical career. It has to be said that, on a proper stage with a proper sound system, the already incredible music was raised to new heights. Chantel herself took full advantage of the larger stage area and the strange positioning of her microphone to the side was soon explained as she used the centre to perform her stunning solos free of the mike. Martin Rushworth seemed to be playing the drums harder than any time we had seen him in the Bath and Alex (dressed up for the occasion) Jeffrey's bass lines really came through strongly on the much better sound system. Favourites from previous gigs were in evidence, along with songs that I don't remember hearing her perform before (such as Joe Bonamassa's Sloe Gin) and others that we definitely hadn't heard before. The middle of the two hour (with no break) set saw Chantel playing three songs acoustically and unaccompanied. These included Fleetwood Mac's Landslide. Bob Dylan's All Along The Watchtower and Not Here With Me, a lovely ballady-type thing about lost love penned by Chantel herself. I had, in fact, been expecting an original song as one had been mentioned in various postings from recent gigs. What I wasn't expecting was a second - the full-on electric rocker Freefalling, which showed that Chantel is equally at home writing both styles of song. Both originals were superb.

One of the most endearing aspects of Chantel's performance is the fact that her youth isn't hidden away and tonight her excitement (bordering on giddiness) at upcoming gigs in London and Manchester was very evident. You also can't help laughing as the pocket rocket chats to the audience between songs, recognising old friends, telling us how clean the stage is and, perhaps a bit too far, explaining how her cardigan leaves fluff under her armpits despite her having "bathed and shaved and everything...!"

This is the first time we Yorkies have had to pay to see the band and we have always felt a bit lucky to see them for free. Chantel told us after the gig that they are no longer playing pubs (good for her - nobody bumping into her mike stand from now on) and would probably only be playing York once or twice a year (bad for us fans...) and that she is halfway through getting the songs ready for her debut album, which she predicted would be about six months away. Can't wait, especially if the rest of the songs are as good as those we heard tonight.