When I see the words “Greek metal,” the first act I think of is Rotting Christ, the great Athens black metal band that’s been making sacrilegious, lightly Satanic music sound ancient and tribal for decades. But now, a very different metal warrior has emerged from the nation of Greece: Father Dionysios Tabakis, a 53-year-old Greek Orthodox priest who makes devotional microtonal drone music at home and who has never played a live show. Earlier this year, he released his debut album Paradise Metal, a strange and expansive record that has become a bit of an internet sensation.
When Jon Davison joined Yes in 2012, it was in the midst of a bit of a crisis. Benoit David had been well received by fans in concert, and the Fly From Here album got great reviews. Unfortunately, like Trevor Horn before him, touring and singing a lot of the back catalogue had taken its toll on Benoit’s voice, and he had to bow out. Davison took up the position initially for a tour, and 14 years later is still the band’s frontman. The first Davison era album, Heaven & Earth, came in 2014 to mixed reactions which, to be honest, have not improved with time. The band have since admitted, the album was rushed, plagued by, perhaps, a poor choice of producer, and so the material did not get fully developed. They took a step back from recording again until 2021’s The Quest, which arrived out of lockdown collaborations, following the sad passing of Chris Squire, and was the first of the (so far) trio of releases on Inside Out Music. 2023’s Mirror To The Sky came following the death of the other member of the rhythm section, Alan White, with long established touring drummer Jay Schellen filling that position, alongside Billy Sherwood on bass. Mirror… felt like a step forward, and the recently released Aurora continues that trajectory.
When we spoke to Jon recently (Interview with Jon Davison), he explained that while this line up had spent many years playing, largely, the Yes catalogue together, the process of working as a recording band creating new material has been evolving over those years.
As a fan of Yes-Whole, The Prog Report set me the challenge of creating a playlist of 10 tracks from the Davison era that really stood out to me. Structured to be a balanced listen in order rather than a top 10, here are my choices:
1. Aurora – from Aurora (2026)
With a piano opening that calls back Awaken, and the magnificent orchestrations of Paul K Joyce, which have featured on the last 3 albums, heralding the arrival of the band, Aurora is a strong opener. The chorus of the song is one that stays with you, and the second part of the song is instrumental with guitar and keyboard soloing, while interacting with the orchestra. It’s a great album opener, and therefore a great playlist opener showing all of the current band members in their best light.
2. To Ascend – from Heaven & Earth (2014)
A shift in tone with this Jon Davison/ Alan White song which starts as an acoustic, pastoral piece. Steve Howe’s Portuguese guitar is an instantly recognisable Yes-Sound, joined by Chris Squire’s bass and distinctive voice, and Geoff Downes’ piano. Alan White’s drumming is gentle, leaving the focus on the vocals and harmonies. There is a really nice acoustic take on this track on the Japanese edition of the album and it was one of the album tracks played live on subsequent tours. If you search on YouTube you can find a version that Jon Davison performed at the Alan White tribute concert in 2023 which segued into I’ve Seen All Good People.
3. The Western Edge – from The Quest (2021)
With a seven year gap and the passing of Squire, Billy Sherwood was established in the band, bringing his bass guitar style and, on this track, his own vocals and writing talents. The Davison/ Sherwood/ Howe vocals form the new Yes Choir, while Steve adds some soaring slide guitar in his distinctive style.
4. All Hands On Deck – from Aurora (2026)
One of the surprise tracks on Aurora, where a heavy Steve Howe riff combines with Sherwood / Schellen to produce this powerful rock tune. Davison sings in a lower register than usual, joined by Howe taking lines in the chorus. The Hammond / guitar combination brings to mind the early Yes albums, before a Moog riff from Downes lands. The song drops back to an acoustic guitar and some atmospheric keys – and 3 minutes and 5 seconds later, it’s gone! It’s one of those tracks that really isn’t anything Yes have done before, and it’s great to see the band unafraid of trying this sort of approach out.
5. Subway Walls – from Heaven & Earth (2014)
For many, this was the stand out track among the under-developed Heaven & Earth songs, and it’s perhaps the most proggy song on the album. Davison and Downes co-wrote it and the latter adds some great Hammond soloing to the middle section before Howe’s guitar joins. It all builds to a busy ending with Steve cutting loose on the guitar. One does wonder, with a bit more time and production consideration whether this could have been developed further – but I enjoy it for what it is.
6. Ariadne – from Aurora (2026)
I haven’t been deliberately avoiding Howe co-writes but this Davison/ Sherwood / Downes retelling of Greek mythology is a really strong collaboration which evolved from The Quest sessions. Schellen is a key player on this one and locks into a triplet shuffle. The various sections combine and reprise in the way that we like best in prog making this a true mini-epic.
7. Circles of Time – from Mirror to the Sky (2023)
After the energetic Ariadne, Jon Davison and Steve Howe’s acoustic duet on this simpler acoustic track is joined by some percussion, additional vocals and electric guitar embellishments. It’s that classic kind of Yes “complex simplicity” that has always been part of their arsenal, and was a great addition to their recent, and hopefully future, cycle of touring.
8. The Ice Bridge – from The Quest (2021)
The first new Yes track we heard in many years was the lead single from The Quest album, and showed the band stepping ahead from the less developed material of the previous album. Sherwood’s bass is strong and the Howe/ Downes guitar / keyboard interplay in the latter part of the track worked well on the subsequent tour as well as on record.
9. Mirror to the Sky – from Mirror to the Sky (2023)
By a few seconds (compared with Aurora’s Counterpoint) this is the longest Yes track of this era and, let’s face it, we love long songs! Beginning with an atypical guitar part from Howe, joined by Downes on piano, and then the full band join with a driving rhythm, again highlighting how strong the current rhythm section can be. Once again the guitars are to the fore, and the opening riff is reprised before a slower section, where the orchestra joins to add subtle colours to the bass and guitar duet. A closing orchestral interlude precedes the return of the band for a rising closing section, instrumentally reprising the chorus melody. It’s a triumphant combination of the strings and horns with the symphonic sounds of the band itself.
10. Watching The River Roll – from Aurora (2026)
Although classed as a bonus track (a phenomenon of the Inside Out albums), Billy Sherwood’s reflection on the passing of time and loved ones is a really fitting end to that album – and this playlist. The Portuguese guitar and then bass drum/ bass guitar thump bring a past Yes classic to mind! The lyrics about the constant state of change could well be about the band itself. Sherwood sings the verses, while Davison joins in the chorus, as Howe adds “watery” guitar tones, supported by Downes’ Moog melodies. The final 90 seconds of this song have, for me, all of what’s great about this current Yes line up: Schellen and Sherwood playing what’s right for the tune, with the right amount of complexity and adventure; Downes’ tasteful keys and soloing; Steve Howe adding multiple guitar colours, some new/ some familiar, and; Jon Davison at the fore with strong vocals, backed by harmonies from the rest of the group.
The Warning, the rock trio of sisters Daniela “Dany,”Paulina “Pau” and Alejandra “Ale” Villarreal from Monterrey, Mexico, has announced their fourth studio album, Everything’s Falling, due August 28 via Lava/Republic Records. The announcement arrives alongside “Ritual,” the third single from the record, following “Kerosene” and “Ego.”
The band describes “Ritual” as an exploration of the pull of anxious thought patterns. In a press statement, The Warning said: “‘Ritual’ is about getting trapped in those thoughts and letting them keep you from actually living in the moment. It’s one of those songs that just kind of wrote itself — there was something really automatic about the process, which felt fitting for a song about falling into patterns.” On the album as a whole, the band added: “Everything’s Falling is a snapshot of where we are in our lives right now — the chaos, the beauty, the uncertainty. We’ve never made a record that felt this immediate or this personal.”
The Warning formed in 2013 and broke through internationally with their 2022 album Error (Lava/Republic), followed by Keep Me Fed in 2024. The band has accumulated more than 710 million streams and received a Latin Grammy nomination for Best Rock Song for “Qué Más Quieres.” Their most recent release before Everything’s Falling was a live album recorded at the Auditorio Nacional in Mexico City in 2025.
U.S. hard rock band Godsmack have announced that former Dream Theater drummer Mike Mangini has joined the band for their The Rise Of Rock tour after the departure of Wade Murff. He made his live debut with the group on June 12th at the Morton Amphitheater in Riverside, Missouri. The band will be touring the U.S. in the next few months, followed by European shows in July and August too. Read more…
Umeå, Sweden based four-piece Moloken recently announced their self-titled fifth album for a September 25th release via Discouraged Records, marking a powerful return after six years of silence. The announcement was accompanied by the first single and video “A Night Vision Revealed (Asterion, Pt. I)”, and now, the band follows up with the second single “Fault Line”. Read more…
(Andy Synn highlights his history with Hardcore, along with three recently-released gems) I’ve mentioned it in passing before, I’m sure, but I don’t think I’ve ever really gone into how important Hardcore was as part of my formative years as a music fan (and still is to this day). Like most of us, I’d imagine, […]
Industrial extreme metal band Aborym unveil first details surrounding their forthcoming studio album Metachaos, now officially completed and mixed. For this new chapter, the band assembled a formidable cast of guest musicians. Read more…
The Essence of The Universe Bring All Your Lovers Review
The song opens with an atmospheric introduction, set to a heartbeat-like groove. Reverberating guitars enhance this depth, welcoming the listener into the experience. The vocal entry feels prophetic, infusing an air of mystery and intensity. The singer’s voice possesses a unique duality that draws one’s attention immediately.
As the first verse unfolds, there is an almost hypnotic quality to the music. This enchanting vibe remains until the chorus, where the intensity ramps up dramatically. The music expands with the addition of pads, enriching the overall sound. Harmonies form as background vocals join, sculpting a sound reminiscent of psychedelic influences.
After the explosive chorus, the song returns to the first verse. In the second verse, the dual vocals ascend an octave, creating a serene yet dizzying effect. This artistic choice presents a kaleidoscopic layer to the song, increasing its emotional pull. The experience is multifaceted, immersing the listener in a rich tapestry of feelings and imagery.
Bring All Your Lovers – Sound and Atmosphere
The atmosphere strikes a balance between tension and harmony, engaging the listener’s senses. This piece feels alive with energy as it radiates a cosmic quality that is truly transformative.
The lyrics unfold like a mantra, evoking imagery that clashes with the realities of media spectacle, violence, and spirituality. The juxtaposition of themes resonates on multiple levels. These rich lyrical experiences add to the dreamy journey that the song offers.
Listening to this track feels almost ritualistic, encouraging participation and sing-alongs. Its infectious nature compels you to join in, transcending ordinary music experiences. Fans of the genre will find themselves lost in the immersive quality of the vocals and instrumentation.
Bring All Your Lovers – Performance and Production
Musically, the song resonates with fans of various influences. It invites comparisons to bands like Depeche Mode and Noir Désir, drawing imaginative connections.
The production quality is impressive, showcasing a fantastic vision that enhances each moment. Every element serves a purpose, tying together the compelling journey offered throughout the song. The meticulous attention to detail in the sound is evident, showcasing the band’s commitment to their art.
This single is an experience that captivates listeners. As it transports you through its sound, you find yourself reflecting on deeper themes. It is a radiant reflection of life’s complexities, beckoning with each compelling note.
This remarkable work can be characterized as a dreamlike trip, offering something for everyone. As you listen, you feel connected and uplifted, making it a must-experience track for all music lovers.
Laji George delivers another intense song with his beautiful voice, reminiscent of the 90s. There are clear influences from artists like Vedder and Cornell, creating a peculiar nostalgia and intensity. The track has a steady rhythm, characterized by a consistent ballad quality. The guitar strumming is rich, complemented by strings that open up a spacious audio experience. The chorus progression is outstanding, showcasing harmonies that hover just above the musical surface. This creates the paradox that is central to the song’s message. The bridge also offers a suspended moment, leading listeners into a limbic space that feels almost psychedelic. It transports them to a metaphysical dimension, enhancing the overall experience.
The lyrics explore a strange and painful paradox. They highlight the journey of rebirth through destruction. This sentiment resonates deeply with anyone who has faced their lowest points. Sometimes, one must reach rock bottom to truly recognize that life continues. This realization can feel brutal, yet it is also essential. It is within this collapse that new beginnings take shape and breathe life anew.
Originally, Laji envisioned the track for a project named Pseutopia. It was intended to carry a much broader sonic vision, drawing inspiration from the powerful, driving rhythmic style of renowned drummer Dave Abbruzzese. However, as the song evolved, the emotional core revealed itself as too intimate to be masked by a full band arrangement. The themes of the song felt deeply personal, almost confessional.
Day I Died – Sound and Atmosphere
Laji George’s artistry shines through in “Day I Died.” He masterfully balances sound and emotion, rendering a dynamic and relatable piece. The personal nature of the song speaks volumes, establishing a connection with listeners. This creates an atmosphere where the audience can reflect on their own experiences through the lens of Laji’s journey.
His ability to generate nostalgia while infusing modern elements is impressive. The rhythmic patterns take listeners on a journey, inviting introspection.
The imagery presented in the song fosters a sense of surreal exploration. There is a dreamlike quality that invites listeners to lose themselves in the narrative. Each strum of the guitar and swell of the strings amplifies the emotional journey portrayed. The bridge serves as a pivotal moment, providing a natural pause that further emphasizes the theme of rebirth through hardship.
Day I Died – Performance and Production
This single stands as a beautiful representation of transformation. It illustrates how one can emerge renewed after experiencing turmoil. Laji George embodies this essence through his voice and lyrical depth. The track becomes a space for reflection, where listeners can examine their own struggles and triumphs.
Laji George has created a piece that resonates on multiple levels. “Day I Died” is not merely an echo of the past; it is a beacon for those navigating their own challenges. This single showcases Laji’s ability to transform personal struggles into universal themes, inviting everyone to join him on this journey of rebirth. It is a fantastic offering that will surely leave an impact on his audience.
The latest Marillion title for the Deluxe Edition treatment is the somewhat overlooked eleventh full length studio album, marillion.com – sometime stylised as mari11ion.com. Released in 1999 and coming just fourteen months after Radiation with many of the songs included here being unused ideas from that previous record.
Following the band’s departure from EMI after Afraid of Sunlight in 1995, Marillion found a home at Castle Communications for their late-Nineties trio of albums: This Strange Engine, Radiation and marillion.com, all released in consecutive years between 1997 and 1999.
The release of 1998’s Radiation came with talk of the band moving away from their perceived Prog roots and heading more into a modern rock arena; if memory serves me correctly, the name Radiohead was dropped several times leading up to Radiation’s release. To be honest, I think album ten fails to live up to that potential and, in my opinion, is the weakest of the Castle Communications trio.
Before the millennium, the internet was an oddity, a new thing that was just opening up to the wider world and Marillion were one of the first bands to fully embrace the potential of this brave new digital world. Hence the album’s title – and there was also a companion Racket Records Web CD titled marillion.co.uk sent to fan club as a Christmas gift.
Radiation’s Cathedral Wall can be heard in the opening A Legacy, which takes its disparate influences from as far afield as The Beatles, The Beech Boys as well as funk, jazz and film noir. It, like most of marillion.com’s early tunes play against their Prog reputation, bringing complete tracks in within an acceptable timescale. Go! pulses with Pete’s bass, giving the whole thing an ethereal lightness, also present in Enlightened.
Punctuating those tunes are .com’s more upbeat numbers: Deserve considers the consequences of action, while Ben Castle provides a driving saxophone, Rich has H do-dah-doing over the opening bars, leaving time for some quirky choices and interesting rhythms; Tumble Down the Years is as wistful as Marillion get, addressing what Life throws at you when you dare to make plans. According to Jon Collins’ book, Marillion/Separated Out: The Complete History 1979 – 2002 (Helter Skelter Publishing, London 2003), the band were going for something of a Crowded House vibe on this one (page 172). The most unusual song here is Built-In Bastard Radar, a Seventies inspired hard rocker, which even features a mellotron, but lack the legs or longevity of most of the band’s work.
Marillion.com closes with two longer songs: the epic Interior Lulu, a multi-faceted dream that one day – and you must remember this was 1999 – the internet would connect us all, regardless of distance. The protagonist, isolated, is introduced lying on her bed, with the possibility of endless connectivity a mere button-push away. This is Marillion doing what Marillion do best: taking an idea and running with it, cycling through all manner of phases and sounds to tell a story in fifteen blissful minutes.
Album closer is the ten-minute, Massive Attack-inspired, House, utilising dub, trip-hop, blues and jazz, and coloured by the messy disintegration of H’s marriage, it’s simultaneously classic Marillion and a fresh, new venture.
Originally produced by the band themselves with help from Porcupine Tree’s Steven Wilson, these new stereo & 5.1 mixes come from long-time associate, Michael Hunter, giving everything a crisp sharpness.
Discs two and three of this package is the band’s show at London’s Shepherd’s Bush Empire in November 1999 – which just so happened to be a couple of days after the show at the Manchester Academy, of which I have great memories.
Split across discs two and three, the show opens with the slow pulse of Go! Pete’s bass throbs, Steve R adding flourishes from the fretboard as Steve H comes in with the vocal. Radiation’s Under the Sun brings its message of impending environmental collapse in the jauntiest manner possible and it’s back to newbie Rich.
A large chunk of disc two is given over to newer material, with only bone fide H-era classic, The Uninvited Guest being rapturously received, Mark Kelly’s unmissable intro garnering cheers, the obligatory Brave suite of Mad/ The Opium Den takes London on a decent into despair in the most melodic manner, and the ever-present Afraid of Sunlight – which is still my personal favourite Marillion song – weaves mesmeric tapestries from the opening keys. This disc ends mid-set after another newbie, the upbeat submission to fate that is Deserve.
Disc three finds the set going deeper into Marillion’s past, beginning with the delicate strings of Easter from Seasons End and its comment on the Troubles; far less cutting than Marillion’s last consideration of Northern Ireland, Forgotten Sons, but no less poignant. The mood shifts for The Answering Machine, allowing a direct comparison of where the direction of travel has taken Marillion over the past ten years.
The Big Beat version of This Strange Engine’s ambient Memory of Water could be some of the most aggressive music Marillion has created, with the band jamming out against a huge low end; the big sweeping intro to Afraid of Sunlight’s conclusion, King, surrenders to introspective strings and H’s confessional vocal, before Mark’s massive keyboard enters to remind us we are mere ephemera in the face of the system.
A second suite from the conceptual Brave comes in the form of the title track’s ominous sustained opening chord, the dour seven minutes shouldn’t work in the live environment unless used as part of an entire album performance yet, somehow, it always does. The album’s coda, The Great Escape, is here delivered with passion and empathy for the protagonist as she looks for the sweet release of oblivion, bringing the main part of the show to a close.
The Radiation tour hadn’t seen Marillion delve further back into their own history than Brave, but tonight, not only have we been treated to a couple from the Hogarth debut in 1989, but the encore is comprised entirely of Fish-era: mega-hit Kayleigh arrives to great cheers and a clap-a-long to accompany that guitar-line. The cascading keys of Lavender follow, proving London is in good voice tonight, and Slainte Mhath shows H is more than capable of performing Fish-era material and making it his own.
As with all Marillion’s deluxe packages the Blu-Ray is an absolute treasure trove of goodies, including two different mixes of the album, one a 96.24 Stereo LPCM version and another a DTS HD Master Audio 5.1. There’s a whole plethora of demos, early and alternate versions of every track on the record, including versions of Deserve, Go! Rich, Enlightened, Tumble Down the Years, Interior Lulu and House from the Radiation sessions; various early or jamming versions of A Legacy, Deserve and Built in Bastard Radar; and a couple of remixed versions of A Legacy and …Bastard Radar from Steven Wilson and Trevor Vallis.
There’s even a couple of unused tunes Think Happy and Dreaming of Summer that, as far as I am aware, have not seen the light of day to this point. Elsewhere you’ll find the in-concert video from
the Oxford Zodiac, filmed in July 1999 and previously available as the Shot in the Dark DVD, it is included here in full, with additional, never-before-seen, material, including a couple of Beatles covers.
The documentaries on these things are always entertaining and informative into how the creative process led to the finished product, and here, we get Thank God for The Internet, an hour-and-a-half-plus delving into the writing, recording and touring of the album.
Marillion.com is unlikely to be classed up there with the likes of Misplaced Childhood, Clutching at Straws or Brave, and for the devotees of the Fish-era is possibly represents a further step away from the band they adore. Yet, for all that, the eleventh record is an honest album, one that isn’t trying to be anything other than a collection of good, sometimes even great, songs; and a bridge from the twentieth century to the brave new world of the twenty-first, when Marillion would embrace technology and mobilise the fan base with their first crowd-funded project, 2001’s Anoraknophobia. Thank God for the internet, indeed.
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