Tonight sees a great return to London, Australian Prog rockers Voyager are giving us an “evening with” experience. This after what has been a not so great few years for the band, it is incredibly heart warming to see them back on the stage again in front of a room full of people that have definitely missed them.
Before the band take the stage, we get a ten minute countdown on the screen whilst years of photographs are displayed, a nice personal touch to connect the band with the audience. When the countdown hits 0, Jerry Ewing (Editor of Prog Magazine) takes to the stage to share his proudness of the band recounting how happy he was to see them representing at the Eurovision Song Contest.
Jerry leaves the stage and slowly, one by one, Voyager come out, before launching into ‘Prince of Fire’, a song that feels like it encapsulates Voyager in a perfect way. As soon as the song fully kicks in, the energy level picks up to match the volume, an energy that carries on through out ‘Colours’ and ‘You the Shallow’. Danny Estrin spends equal time smiling at the crowd as he does singing. Everything about the performance shows just how much they are enjoying being back on stage again. They are just out here having a blast, that doesn’t mean they aren’t taking it seriously either. Their performance sounds incredibly tight.
For a band that have not been able to tour much in recent years, their performance sounds like they have never been away. ‘Dreamer’ is a crowd favourite, with the chorus being sung back at them throughout. This is before Voyager’s sense of humour rears its head. ‘Hyperventilating’ brings a karaoke style finish to the song, however the lyrics that the crowd sings are “This song is captivating” and “I can’t stop masterbating”. Not going to lie, that was a bit of an odd moment, however this is Voyager and they are having fun and the crowd are more than happy to join in.
The set then moves through ‘The Lamenting’, ‘Seen Better Days’ and ‘Ultraviolet’, showing just how easily Voyager can move between heavier sections and the huge melodic choruses that have become such a big part of their sound. ‘To the Riverside’ gives the evening a slightly different feel before ‘Ghost Mile’ brings another big response from the room. This is followed by the first reading from Voyager: The Brightest Stars, a mock children’s book that somehow gets more bizarre as it goes on.
Musically, there is very little to fault throughout the evening. Simone Dow and Scott Kay are incredibly sharp on guitar, Alex Canion brings plenty of movement and personality to the stage, while Ash Doodkorte keeps everything locked together from behind the kit. At the centre of it all Danny switches between keyboards and vocals while constantly interacting with the crowd. There always seems to be something happening, but it never takes away from the songs themselves.
‘To the Morning Light’ is followed by an older favourite in ‘Everwaiting’, which earns another huge reaction before the next chapter of the children’s book is revealed. ‘I Am the Revolution’ and ‘The Meaning of I’ give longtime fans plenty to enjoy, while the important bald community announcement that follows once again proves that Voyager will take almost any opportunity to make themselves laugh.
The closing section is where the crowd really seems to find another level. ‘Promise’ is met with an enormous singalong, with the Eurovision favourite sounding even bigger inside this room. ‘Gren (Fearless in Love)’ follows before ‘Ascension’ brings the main set to an emotional close. The band leave the stage, although nobody in the venue appears ready to go home just yet.
Voyager soon return for one final song, closing the evening with ‘White Shadow’. It is a fitting end to a show that has mixed incredible musicians, with plenty of humour and a real feeling of connection between the band and their fans.
This show felt very much about the band being welcomed back to the stage after a long time away and by God did they deliver on their return. Hopefully with the constantly improving health of Danny Estrin we won’t have to wait so long for them to return to our shores.
Nancy Wilson says that Heart have finished recording a new album. A new collection of studio songs would be the band’s first in a decade, following the release of Beautiful Broken in 2016.
The guitarist broke the news during an interview with Gold Darby, during which she was asked about her freshly dyed hair.
“I got my pink on again!” says Wilson. “It was starting to fade out. There’s this one colour that lasts forever, but it finally faded. The Heart album is almost finished up now, and the photo shoot was happening, so I was like, ‘I gotta get my pink on for the Heart thing,’ because the recording’s all done.
“I think it’s going to be great. We wrote a bunch of new songs and recorded down in Nashville with the players that we just played the last tour with. It was like a secondhand thing with each other because we’ve played so many live shows, so the album was pretty much recorded live.
“So, yeah, it’s crazy! I’m really happy. It really feels like a Heart record.”
According to Wilson, Heart are scheduled to deliver the finished album to their record label before the end of the month, and are also working on a world tour, a documentary and a live-action feature film.
“It really feels like a Heart record,” says Wilson. “It’s all about these songs. It’s what we were born to do, and do together. Hopefully ‘27 and ‘28 will be the year for Heart world domination, basically.”
Heart play two shows at the River Cree Resort & Casino in Enoch, AB, Canada, on October 23 and 24.
The song resonates with fans of Star Wars. It embodies soul and jazz vibes that are noir and expansive. The music takes listeners on a cosmic journey, as if painting a canvas reminiscent of Edward Hopper. The atmosphere created is fantastic, with an added hint of seduction. A saxophone solo weaves through the melody, penetrating the listener’s skin. The vocal delivery possesses nuances echoing those of Michael Bublé.
This track does not rush; instead, it simmers. The intense and sexy groove encourages a gentle desire to dance. It invites listeners to let go, closing their eyes to envision the spaces described in the song. The journey portrayed feels like a renegade’s exploration through the cosmos. This refined piece offers an experience that I recommend to everyone.
Musically, the arrangement balances jazzy elements with a smooth soul foundation. The saxophone shines brightly, driving the essence of the tune deep into the heart. Its seamless integration with careful vocal phrasing creates a rich auditory experience. The production quality stands out, enhancing every nuance. Each note feels deliberate, designed to engage the listener fully.
Distant Moon Cantina – Sound and Atmosphere
Moreover, the rhythmic foundation provides a comfort and an urge to move. While danceability is key, the emotional weight of the composition ensures much more depth. It lures you in with its smoothness, making the journey feel intimate. Listeners can find themselves lost in the sonic textures. As the song unfolds, it develops a narrative that intrigues and invites reflection.
While the main themes revolve around journeys and exploration, there’s an underlying message of love and connection. As the music unfolds, it gives listeners space to interpret these messages personally. This creates a unique experience for everyone who engages with the song. It transforms the act of listening into a personal exploration.
Distant Moon Cantina – Performance and Production
The dynamics of the composition fluctuate, reflecting emotional highs and lows. It draws listeners back in, ensuring that the experience remains fresh. The luscious grooves encourage one to sway and feel deeply. Each progression adds to the rich atmosphere that envelops the listener. This track serves as a beautiful blend of genres.
Andrei British’s artistry shines, bringing a unique perspective to the sound. He possesses a remarkable ability to fuse different styles into a personal expression. It feels authentic, bridging various musical traditions into something coherent and new. His understanding of pacing enhances the song’s impact. It balances intensity and intimacy, showcasing a mature songwriting approach.
“Distant Moon Cantina” stands out for its rich sonic journey. It presents an enticing mix of jazz and soul that invites exploration. Even beyond the engaging rhythms, there is substantial emotional depth.
We leave the experience filled with warmth and introspection. It urges us to think back on the myriad connections we forge. The song offers not just a journey through space, but also within ourselves.
The song immerses listeners in a cinematic landscape reminiscent of the Coen Brothers, evoking a desolate desert that feels almost like a forgotten realm. The moment the vocals emerge, they channel the essence of Jim Morrison during one of his wild performances, where he guided audiences through a journey of imagination. The guitar winds around the listener like a rattlesnake, and the overall experience transports you into this psychedelic universe. This music feels akin to the essence of Ayahuasca, revealing in front of your eyes the Spirit of the Cactus.
Envision a blend of Queens of the Stone Age and The Doors, and you will begin to grasp the nature of this sonic exploration. Pascal’s voice is deep and hypnotic, akin to a sage dressed in white, drawing listeners into a hallucinatory state. In this realm, time and space dissolve, and dimensions stretch like a kaleidoscope, merging metaphysical concepts with earthly pleasures. The guitar solos deliver echoes of the 1970s, characterized by sharp, piercing tones that tickle the soul.
This track is a journey best undertaken with closed eyes, perhaps enhanced by the use of some hallucinogenic substance. The experience yields extraordinary emotions that embrace and mesmerize, akin to odalisques dancing before your eyes. It’s an incredible musical journey that I wholeheartedly recommend to everyone.
Spirit Of The Cactus – Sound and Atmosphere
Each element contributes to a cohesive vision, where the instrumentation and lyrics entwine seamlessly. The structure of the song supports a rising tension that culminates in moments of intense musical expression. Every guitar riff and drumbeat serves a purpose, further enhancing the narrative woven through the music.
When you listen closely, the layered instrumentation reveals intricate details. Each subsequent listen reveals new aspects that entertain and provoke thought, enriching the overall experience. The ability of the band to create such depth and complexity within their arrangements speaks volumes about their artistic vision.
The interplay between the guitar and vocals stands out as a defining characteristic of the song. The guitar’s sharp riffs complement the deep, almost sonorous quality of Pascal’s voice. Together, they craft an auditory experience that feels intimate and expansive, making the listener feel connected to something greater.
Spirit Of The Cactus – Performance and Production
In terms of production, the crispness of the mix allows every element to shine. There’s a clarity that highlights the various instruments, ensuring that each contributes to the overarching story the song conveys. This attention to detail allows listeners to become fully immersed in the atmosphere, transforming a simple listening experience into a journey.
The sense of liberation conveyed through the music deepens. It’s as if the song itself liberates the spirit, inviting you to explore new territories of imagination. This is not merely a song; it’s an invitation to experience life through a different lens.
The production choices enhance the overall impact, with moments of quiet introspection that punctuate the vibrant energy. These contrasts create a dynamic framework, allowing for moments of reflection before returning to the thrilling crescendo that follows. This balance of light and dark ensures that the song remains engaging throughout its duration.
“Spirit Of The Cactus” offers a transformative experience that encourages listeners to explore the depth of their own consciousness. Pascal & The Shades create music that transcends traditional boundaries, inviting everyone to join in on this extraordinary adventure.
Travis Barker spoke with Jon Caramanica and Joe Coscarelli on “Popcast” about his music career and his new documentary, “Travis Barker: Louder Than Fear,” out Aug. 13.
Ricky had been in London for less than six hours when his wallet was stolen outside the gates of Buckingham Palace. One of his best friends, also newly arrived from Japan, suffered the same misfortune, both men victims of the light-fingered professional thieves who prey daily upon unsuspecting tourists hoping to catch a glimpse of King Charles.
One might imagine that this double blow would have rather dampened the pair’s holiday spirit, but visiting England for the first time to pay homage to The Beatles, the band that changed their lives, they refuse to let their bad luck kill their excitement. In fact, the world’s most gracious crime victims will admit to a grudging respect for the sleight-of-hand deployed by the artful dodgers who relieved them of their credits cards and a not-insignificant chunk of their holiday spending money.
“I was shocked, but I felt like I had witnessed an incredible magic trick,” Ricky says, displaying a generosity of spirit that very, very few of us could hope to emulate under similar circumstances.
As he shares the story, Kumamoto resident Ricky, along with his friends Masa, Moomin and Tora, is standing outside Abbey Road studios in St. John’s Wood, on the group’s second day in the English capital. When not taking shelter from the rain inside the world famous recording facility, or its gift shop at least, the four men – in common, one imagines, with 99% of visitors to this part of north west London – are attempting to recreate the iconic image, shot by Scottish photographer Iain Macmillan, which graces the cover of the quartet’s 1969 album Abbey Road.
Displaying an admirable commitment and attention to detail, each of the four men is dressed as a specific Beatle, complete with suits, wigs and fake facial hair, where appropriate: for added authenticity, Ricky, aka ‘Paul’, will walk across the rain-drenched zebra crossing in his bare feet… and Paul McCartney isn’t even his favourite Beatle.
“John was decided, and George was decided,” he reveals. “I regret not switching roles…”
Ricky first heard The Beatles in 1973, during his second year at junior high school, when his older sister brought home the band’s ‘early years’ compilation The Beatles 1962–1966, aka the ‘Red Album’.
“Until then, I had only listened to folk and pop songs,” he says, “and I clearly remember being very shocked. After that, I listened to The Beatles all the time… and it was The Beatles that inspired me to start a band with friends. I still remember the joy of buying my guitar after the summer break of my first year in high school, and our first practice song was Ticket to Ride.
“The Beatles were my gateway into British rock music,” he says, “which led to me learning songs from Deep Purple, Led Zeppelin, Queen, etc. I still have a good relationship with those friends from that time.”
The Beatles made me do it: Ricky’s high school band (Image credit: Ricky)
One of those friends is Masa, Ricky’s high school classmate and former bandmate, resplendent in double denim today as ‘George Harrison’.
“We performed at the high school festival and even rented a local movie theater for a concert on graduation day,” he recalls of the band the pair formed with four other school pals. “The Beatles were my youth. They are the gods of rock!”
The Beatles are a one-of-a-kind band who transcend eras, cultures, and borders and continue to influence artists
Moomin
As with so many of the world’s best ideas, the quartet’s plan to visit the UK to celebrate their shared love of The Beatles was hatched under the influence of alcohol.
“It all started at a celebratory classmates gathering when I said to Ricky, While we still can, we should make a pilgrimage to the sites of The Beatles in London and Liverpool,” reveals Moomin, aka ‘Ringo Starr’. “But shortly after, the pandemic hit, and we had to pause our plans. Once it was over, we started having meetings – basically drinking parties – to prepare.
“I wanted to come here at least once in my life,” he continues. “The Beatles are a one-of-a-kind band who transcend eras, cultures, and borders. They elevated rock music into art.”
(Image credit: Tora, Moomin, Ricky, Masa)
Moomin, who discovered The Beatles in the early ’70s after first falling under the spell of Wings, says that he and his friends selected their Fab Fake character a month ago during a karaoke session. Ricky is Paul because “maybe they looked alike when he was young”, he suggests, Masa is George because he asked to be George “and they have similar body shapes”, and Tora is ‘John Lennon’, apparently, “because he wears a white coat at work.” Moomim, therefore, is Ringo “out of necessity.”
“I don’t remember clearly because everyone was drunk,” he admits.
“I thought I might be Ringo,” Tora chips in, “but I ended up as a slightly chubby John since my profession is a dentist and I happened to have the white pants and jacket that John wore.”
“I wish we had talked about it more,” Moomin adds. “It was difficult to get outfits and beards and wigs, but it was worth the effort.”
While today is a special day for the four friends, it’s an extra special day for Moomin, who’s celebrating his 64th birthday, the significance of which is easily understood by all Beatles lovers.
“The Beatles have a charming song by Paul called When I’m Sixty-Four,” he explains with a smile, delighted with the cosmic synchronicity as much as by the gifts he’s received.
The four men, and their partners, have a busy day of sight-seeing ahead of them, including a visit to 3 Savile Row in Mayfair, formerly Apple Corps headquarters, and famously the site of the band’s final live performance in January 1969. Then it’s off to Liverpool, to visit The Beatles’ childhood homes, Penny Lane, Strawberry Fields and the Cavern Club on Mathew Street, the home of the ‘Merseybeat’ sound, where the quartet made close to 300 performances. “Just thinking that The Beatles sang on that brick stage underground gave me chills,” Tora later tells us.
“Everything I saw was exciting,” says Ricky when we catch up over email, “but walking in the same place as The Beatles at Abbey Road and visiting the Cavern Club were the highlights. When I was in the Cavern Club, I was thinking, This is where it all started, while drinking whiskey and mingling with people from various countries, all dancing and singing along to The Beatles’ songs. Great memories!
“Although I suffered financial loss, touching the history of The Beatles has become a lifelong treasure.”
The ‘other’ Fab Four outside George Harrison’s childhood home at 12 Arnold Grove in Wavertree, Liverpool (Image credit: Tora, Moomin, Ricky, Masa)
Brisbane rockers, Runt, have released their self titled debut album via XMusic. In their own words Runt says ‘”this album isn’t just a tracklist; it’s a curated collection of stories, each built with its own pulse and purpose. We aren’t interested in being a tribute to the past or a carbon copy of the present. […]