Tag Archives: Pete Trewavas

Out of ‘The Whirlwind’…

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Prog supergroup Transatlantic‘s 2009 album The Whirlwind is that rarest of musical beasts, the double-album with nary a dull moment. To say that this is no mean feat is an understatement: it might be cliché to mention Tales From Topographic Oceans, The Beatles, …And Justice For All…, Use Your Illusion and Be Here Now but aficianados of classic rock will surely get the point: 80 mins is a long time in music – to paraphrase another cliché – and the potential for misstep and indulgence is high. Actually, unless you’re one of those listeners harbouring a pathological aversion to all things prog, you might perhaps concede that Transatlantic have a pretty solid track record for recording and releasing music of remarkable quality in behemoth-sized chunks. The band’s debut attracted many accolades including “some of the best progressive rock music ever written” (Robert Taylor in Allmusic)). I’ve been a huge fan since I discovered the band via Marillion‘s website in 2004 and especially since seeing them perform The Whirlwind live three years ago: to say my expectations were high would be an understatement…

..and initial signs weren’t encouraging. The band released Shine as an album trailer back in December 2013 and after a five-year wait for new material  I wasn’t impressed:

‘…Whilst I wouldn’t go as far as to say I don’t like the song, it’s by far the least immediately-impressive tune released by the band thusfar: not since Asia‘s 1982 debut has the ‘super’ been so conspicuous for its absence in output from a group so deserving, talent-wise, of the appellation. The collective talent in Transatlantic is indeed an embarrassment, yet had this been my introduction to the collaboration I can’t say I’d have been won over…’

I still don’t particularly like the song: it’s a big power ballad with Floyd-ey knobs on and kinda uninspired by TA standards.The second album trailer was Black As The Sky (which follows Shine on the album) and I like this rather better: it bounces along at a good clip, propelled by Pete Trewavas‘ groovy, thunking bass, and Neal Morse‘s synth figures are catchy, building excitement from the off.  Around three minutes, there’s an instrumental breakdown which adds interest with some tricky time sigs, more nifty runs up and down the ivories, topped off with guitar flourishes from Roine Stolt – very ‘Cinema Show‘ – before the song concludes with a triumphant return to the chorus. All in all it showcases what the boys do best – catchy, melodic prog which demonstrates musical skill without succumbing to indulgence. And following on from that, Beyond The Sun is a lilting Neal Morse piano ballad in the vein of Bridge Across Forever. the title track from their second album. Accompanied by some lovely pedal steel guitar – courtesy of mix engineer, Rich Mouser – and a tasteful string arrangement – by longtime Morse collaborator, Chris Carmichael – it’s four minutes of understated, faintly-psychedelic bliss.

Which leaves two ‘songs’, or rather, song-cycles. TA have returned to a tried-and-trusted format with this album, namely opening and closing the record with extended symphonic workouts with two or three more compact numbers in between. The first two TA albums – SMPTe (2000) and Bridge Across Forever (2001) set the bar high with tracks such as All Of The Above and Stranger In Your Soul. If you’re a lover of classic symphonic prog epics such as Supper’s Ready and Lizard, and/or more recent variations on the form such as Milliontown or Gaza then you owe it to yourself to hear these brilliant pieces. Kaleidoscope, and particularly Into The Blue are, I’m pleased to report as good as if not better than the aforementioned. The latter opens the album with a string theme which is instantly recognizable as Neal Morse/TA – variations of which recur thruout the song and album – which gives way two minutes later to some dirty guitar and organ riffs reminiscent of vintage Purple or Crimson at their earthy, weighty best. Interesting aside, Elbow detoured into very similar KC-inspired territory on their recent album-trailer Fly Boy Blue which is well worth a listen. Over the course of 25 minutes and 13 seconds Into The Blue takes us on the kind of twisty, predictably-unpredictable musical journey that is the hallmark of symphonic prog rock. Detractors of bands such as TA will point out that their music is derivative to the point where progressive is scarcely an apt moniker, and it’s an allegation I shan’t even attempt to refute – it’s impossible to listen to a song like Into The Blue without making mental comparisons to the likes of Crimson, Yes or Genesis – all I can say is that the band tear into their job with such evident relish and aplomb that I can’t help but be carried along. The title – and closing – track is even longer at nearly 32 minutes and yet the time seems to fly by, immersed in the rich soundworld the four musicians create.

And the album is a handsome thing to behold, coming dressed in suitably progged-out attire:

The four discs (r-l) CD1 Kaleidoscope (stereo), DVD1 Kaleidoscope (5.1), CD2 8 cover versions recorded during the album sessions, DVD2 ‘Making of’ documentary.

The image doesn’t quite do justice to the full psychedelic effect of the lenticular sleeve design (also reproduced inside in postcard form) or include the Kaleidoscope t-shirt included with pre-orders, all of which makes the package a snip at around £40 for the discerning prog-nerd. TA, who have courted this element in their prospective fan-base with limited editions from album one, have really outdone themselves this time; producing a package that stands comparison with previous KScope high-end releases from the likes of Steven Wilson, not to mention Marillion‘s plush campaign editions. Musically it arguably lacks the freshness and back-to- front consistency of previous releases: their stall is set now and the element of surprise regarding ‘what will the collective efforts of these four veterans sound like’ is long gone. Kaleidoscope sounds just as one might imagine: well-crafted and impeccably-played, unashamedly-retro prog rock. The more complex compositions are still agreeably leavened by keen melodic sensibilities, albeit those are a little less to the fore this time around, and this still sets them apart: by way of comparison/contrast listen to their cover of King Crimson‘s willfully-gnarly Indiscipline on the bonus disc. Like all the covers – including Goodbye Yellow Brick Road and Nights In White Satin – it treads a line between being faithful and distinct and as with previous efforts it gives a peek behind the curtain of the band’s influences. Only And You And I slightly misses the mark, sounding somehow bereft without Jon Anderson at the helm (attendees at the recent Progressive Nation At Sea festival were treated to hearing the latter join TA for a ‘proper’ run at the song, amongst other classics from the Yes canon) but I digress…

The Indiscipline and And You And I covers highlight, in different ways, what Transatlantic don’t offer: music that’s genuinely challenging or possessed of a single, focal, unifying voice. They recreate the bombast of the prog of yore for an appreciative audience and they do it very well: to quote Mike Portnoy/Adrian Belew ‘I like it!’ But for all its occasional highlights, Kaleidoscope hasn’t surpassed The Whirlwind to these ears. It’s good – very good at times: those dirty Purple/Crimson chords, and guest performer Daniel Gildenlöw‘s ‘Demis Roussos‘ vocal on Into The Blue – but the melodies are generally less memorable; the performances somewhat less impassioned; and where there was a clear progression of ideas and approach across the first three albums, the return to the familiar track-listing formula of earlier releases seems like a – literal – step back.

If you notice something of a decline in enthusiasm on my part between the beginning and end of this review, then there’s a reason for that: I started it a month or so back when it hadn’t long arrived. Real life has left me with increasingly less time to myself over the last year or so – no bad thing: my relationship and social life is going from strength to strength – and blogging has taken a back seat and as a result I’ve been working on a number of posts piecemeal without actually publishing much. In the interim the ‘Shine’ has worn off: I’m listening to The Whirlwind now – as I’ve also unearthed Bridge Across Forever – and the contrast is not flattering to Kaleidoscope! There’s nothing here as spine-tinglingly sinister as Roine Stolt‘s vocals on A Man Can Feel; as emotively epic as Neal Morse‘s elegiac Rose Colored Glasses; as climactic as Is It Really Happening? (and perhaps more worryingly, as joyous as their Beatles knock-off, Suite Charlotte Pike). And the band commit the cardinal sin of ending the album on a fade-out. Symbolic maybe? Can we expect a TA hiatus such as that which followed Bridge…? Those 8 years set the stage for The Whirlwind so maybe a break to refresh the creative juices might be in order?

Shine on you lazy diamonds (part one…)

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If the very words ‘Progressive rock supergroup’ are enough to make your blood run cold – or indeed, boil – then, to paraphrase Obi Wan Kenobi, this is not the post you are looking for…

…If you’re still reading, then; there’s every chance you’re also as excited as I am at the prospect of an 80-minutes-long record, featuring just five ‘songs’; enrobed in psychedelic, sci-fi splendor and dreamed up by the cream of neo-prog talent. Transatlantic, for the uninitiated, is the collaborate efforts since 2001 of Mr Mike Portnoy (then Archduke/drummer of Dream Theater); Roine Stolt (guitarist-singer-songwriter for The Flower Kings/Kaipa); Mr Peter Trewavas (Marillion/Kino/Edison’s Children); and God-bothering prog polymath from Mars (ex-Spock’s Beard) Mr Neal Morse. In the decade-or-so since, they’ve recorded and toured three fantastic albums and the pre-order for their forth, entitled Kaleidoscope is about to open. Shine is the first ‘single’/album trailer, debuted yesterday on the Prog mag website:

Despite the ‘prog supergroup’ tag, Shine couldn’t be much further from the convoluted instrumental showboating of ELP or Mahavishnu. It’s actually a straightforward rock ballad which, if you’re a fan of other Neal Morse projects from Spock’s Beard to Flying Colors will doubtless have a familiar feel. If you’re detecting a whiff of criticism in that last, then you’re at least half right: Morse‘s skill as a writer and singer of ballads – and his melodic sensibility in general – forms a crucial part of Transatlantic‘s appeal for me. Whilst the band is a veritable heavyweight in the musical muscle-stakes, and not afraid of treating itself and fans to extended, demanding workouts – in common with their first two releases, Kaleidoscope is book-ended by two half-hour-long symphonic pieces – each album has included songs that show facility for more economical, pop-rock-oriented writing. We All Need Some Light (from SMPTe, 2001) and Rose Colored Glasses (The Whirlwind, 2009) are fine examples of this kind of vibe and both were highlights of their last tour (on which the band was complemented by ‘all-round utility guy’ Daniel Gildenlöw of Pain Of Salvation fame, upping the ‘super’ stakes). Shine is a song in a similar vein, but, frankly, not in the same league. Where those songs soared and took flight, it merely plods along, struggling for breath. Even Roine Stolt‘s second solo at 4.20 – my favourite thing about the song – sounds a little uninspired by his standards; derivative somewhat of David Gilmour (Comfortably Numb in the wrong key?) and also Trewavas‘ band-mate Steve Rothery, albeit as thrilling as neither.

The country twang that makes itself felt around the two minute mark is a slight departure for the band, though curiously-apposite given that the recordings were begun in Morse‘s adopted home of Nashville; whilst the brief interlude into Floyd-ey psychedelia at 3.47 – predictably, voiced by Portnoy – is sweetly-trippy, yet slightly out of place there. The effects processor conveniently disguises his shortcomings as a vocalist – he and Trewavas provide solid backups and harmonies, but truthfully neither cuts it on lead, Portnoy least of all – but it’s something of a mystery why the band chose to split up the vocal duties at all. The song sounds very Morse and he’s much the strongest singer, even if Stolt‘s more idiosyncratic tone remains more distinctive. And can I mention the video clip? It looks cheap – as much as I love the musty, tumbledown grandeur of the chapel – and is unlikely to either impress their select, if devoted legion of fans or win them any new ones. Maybe a fanclub competition along the lines of Marillion‘s Whatever Is Wrong With You marketing wheeze would have been the way to go. The spark of creativity therein went a long way towards mitigating the nonexistent budget.

Whilst I wouldn’t go as far as to say I don’t like the song, it’s by far the least immediately-impressive tune released by the band thusfar: not since Asia‘s 1982 debut has the ‘super’ been so conspicuous for its absence in a group so deserving, talent-wise, of the appellation. The collective talent in Transatlantic is indeed an embarrassment, yet had this been my introduction to the collaboration I can’t say I’d have been won over, especially given the £40 (+ P&P) price tag on the collectors’ edition hardback set. As it happens, my Trans-virginity (fnarr, fnarr) was taken by Mystery Train (see below) which is better indicative of the band’s general sound and compositional skill, whilst remaining melodic and accessible. I will be buying said product, mind: on the strength of their previous three excellent albums I’m convinced I won’t be disappointed. On The Whirlwind in particular, they did themselves proud, making a record that harked back to the heyday of symphonic prog whilst remaining fresh and accessible. I hope this single doesn’t – ironically – prove to be an indicator that the shine is beginning to wear off.

The Prog article can be read in full here and includes the full tracklisting for the album including a bonus CD of cover versions which showcases some of the band’s diverse roster of influences:

CD1
01. Into The Blue (25:13)
02. Shine (7:28)
03. Black As the Sky (6:45)
04. Beyond The Sun (4:31)
05. Kaleidoscope (31:53)

CD2
01. And You And I (Yes cover) (10:45)
02. Can’t Get It Out Of My Head (ELO cover) (4:46)
03. Conquistador (Procol Harum cover) (4:13)
04. Goodbye Yellow Brick Road (Elton John) (3:20)
05. Tin Soldier (Small Faces cover) (3:22)
06. Sylvia (Focus cover) (3:49)
07. Indiscipline (King Crimson cover) (4:45)
08. Nights In White Satin (The Moody Blues cover) (6:13)

3rd time lucky: Pripyatic

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Marillion guitarist Steve Rothery has a new instrumental side project The Ghosts of Pripyat scheduled to be released in September of next year. It’s his first solo outing proper after a couple ‘false starts’…

‘I had an offer to record a solo album from EMI during the recording of Misplaced Childhood in 1985. However it led to a strong disagreement within the band and the idea was shelved. While recording the Brave album at Miles Copeland’s chateau in France I was offered a deal to make an instrumental album for his “No Speak” label, however, I decided to record the first Wishing Tree album instead. Fast forward another twenty years and I’m invited to play at the annual Plovdiv guitar festival in October 2013. Having committed to the festival it left me with the small problem of what to play for an hour. “Blues in A” just wasn’t going to cut it. I had a few strong ideas and got together for a couple of writing sessions with my good friend and fellow guitarist Dave Foster. Dave and I have a great musical chemistry which brought forth a lot of amazing music. After a couple of days rehearsal with the fantastic rhythm section of Leon Parr and Yatim Halimi I realised this was going to be something really special. The live album and video from the performance gives you an idea of where the finished album, “The Ghosts of Pripyat”, will go…’

He’s financing the release via Kickstarter, the popular crowd-funding platform that so resembles Marillion‘s long-established business MO and it surpassed its (modest) funding target on launch day (yesterday and also the man’s birthday). But don’t that let it stop you from chipping in if you like what you hear…

Unrestrained by the structural demands of Marillion‘s familiar songwriting style, Rothery‘s playing takes on a different dynamic; a melodic lead that is by turns less fiery and more richly-realised . The above montage of clips evidences a sound somewhat removed from his day job, though fans of that band might notice passing similarities to past instrumental breaks such as The Opium Den and Cathedral Wall. The harmonic choices and elegant phrasing are identifiably Rothers yet… different. Bold, languid and, dare one say, a little indulgent. White Pass (below) begins with chords that faintly remind of Jordan Rudess‘ opening to the Someone Like Him section of Dream Theater‘s Octavarium; noodles gently awhile before subtly gaining momentum.

It’s plaintive and gently compelling, and whilst I could have survived with a couple minutes less noodling in the early part of the song it effectively showcases the tasteful mastery of mood that Rothery brings to the table at The Racket Club. If I have one overarching criticism it’s that the ululating crescendo never really reaches a satisfying climax: it just kinda peters out awkwardly and abruptly; the ‘great chemistry’ Rothers alludes to (above) failing to coalesce into a stable musical molecule.

So this is not about tight, technically-adventurous musical showmanship so much as carefree, melodic rambling to stir the soul. In a way, it falls between two stools; insofar as it’s a bit too interesting to serve as ambient chill-out fare, whilst not demonstrating the full-blooded chops that will start the virtuoso-twitchers stroking their beards in wonderment. It possesses a little of the gently psychedelic quality of early Porcupine Tree, something that Rothery‘s Marillion bandmate, bassist Pete Trewavas explores with his Edison’s Children project.

Speaking of Mr Trewavas, and full-blooded chops; Transatlantic (his collaboration with Mike Portnoy [Dream Theater, Winery Dogs, Flying Colors], Roine Stolt [Flower Kings, Kaipa] and Neal Morse [Spock’s Beard, Flying Colors]) are set shortly to unleash their forth studio project, Kaleidoscope upon the world . The pre-order opens on December 10.

So, a good time to be a Marillion fan and/or an aficianado of what was once dubbed ‘underground music’. Underappreciated? Maybe. Priapic, sorry Pripyatic? Sure. But go knock yourselves out…

Hold your breath … ’til you feel it begin…

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Further to ‘Lightbulb Moment…’ here’s a taster for the upcoming Edison’s Children album The Final Breath Before November:

The Final Breath is the opening cut from the new album and hints at something darker than In The First Waking Moments, pushing further into ‘gothic’ territory: in particular (singer, Eric) Blackwood‘s breathy vocal is faintly-reminiscent of Fields Of The Nephilim‘s Carl McCoy.  Musically I’m also reminded of the lush, spacious textures (that band) peddled on The Nephilim and Elizium, also by Levitation especially on the moodier second half of Need For Not, and Gazpacho‘s Night conceptual opus. These are albums that build intricate layers of sound into immersive mood trips, whether by alternating post-rock style repetitive riffs with explosions of muscular prog or interpolating evocative tonal details and haunting synth washes.

Pete Trewavas and Eric Blackwood are no slouches in the musicianly stakes, but it was utilizing these kinds of writing and recording ‘tricks’ that made In The Last Waking Moments such a memorable album, rather than in yo’ face showboating. Conversely, whilst neither are technically-proficient singers, their pleasingly-raw delivery and sincerity impart real character into the songs.

Here’s hoping their ‘Final Breath…‘ is nothing of the sort…

This track does it’s job as a teaser well: it gives little away yet leaves an indelible impression. I want to hear more…

Lightbulb moment (his Children’s children)

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This is kinda one of my ‘Fresh From The Vault’ posts by any other name, albeit with benefits and shiny pre-order knobs on. One of my favourite albums of last year (it was recorded and released in 2011, I was a little late to the party) was the transcendental In The Last Waking Moments by Anglo-American duo, Edison’s Children.

Never heard of them, right? Fair enough, no reason you would’ve; but within the demographic best-predisposed to like them they’re already superstars. The other half, alongside singer/songwriter/multi-instrumentalist Eric Blackwood, is Marillion bassist Pete Trewavas, and few bands do audience-engagement in the internet era as effectively as Marillion. It’s the ’80s band that refused to die – should’ve, some might say – but in spite of having had its commercial heyday some two decades previously, its never been in better musical and financial health. Of the five-strong membership, Trewavas has long been the most musically accomplished and promiscuous, and like his best-known extra-curricular projects, EC fits in somewhere on the prog rock spectrum, albeit a million miles away from anything he’s recorded with Marillion, Kino or Transatlantic. It’s closer in tone to early/mid-period Porcupine Tree – before Steven Wilson got chummy with Mikael Åkerfeldt (Opeth) and imbibed a draft from the poisoned spring of Death Metal – and the widescreen Gothic melodrama of Fields of the Nephilim, minus Carl McCoy‘s ‘from beyond the grave’ baritone. That said, there’s more than enough originality there for the project to stand on its own merits; and it possesses certain qualities rare enough to be considered remarkable in today’s – more than ever – saturated musical marketplace

ItLWM is a real headphones album, a seductive, immersive sonic universe that is almost fiendishly well imagined.  Although the pace rarely rises above that of a leisurely ramble across the moors (80bpm, say) there’s an understated, rolling urgency in its beats and chords that sweeps up and carries the listener as surely and powerfully as a driving trance anthem or moshpit filler. It’s just not possible to hear this as a set of stand-alone songs: in an iPod age where the album form has been eroded by download-overload, ItLWM remains stubbornly shuffle-resistant. Cue up Dusk and you’ll find yourself in it for the (70min) duration – which is no mean feat. Wall-to-wall brilliance was rare enough in the age of the LP: 35-40 minutes of flawless composition and performance is a big-enough ask and the number of consistently-listenable double sets even in that golden age a select group. The advent of CD made the 60, then 70 and now 80 minute – effectively double – albums a possibility and in some quarters an expectation. Quality was bound to suffer, if not always, then often: Prog rock aside, Hip Hop and R’n’B records have been especially prone to padding out decent records with material that, in days gone by would have been relegated to single b-sides.

So It’s notable that the final running order for ItLWM was culled from an initial burst of creativity that ran to nearly 50 demo’d songs: hard work, great chemistry and also quality control made that album what it is. The songwriting is consistently strong, and whilst it’s ostensibly a concept album – Sci-Fi gubbins themed around alien abduction; plenty of scope for pitfalls into stinky, cloying Gorgonzola already; deftly-avoided, mind  – it’s the strength of its musical themes that lend it coherence as a piece. The four part Fallout sequence dispersed thruout the album recalls the similarly-structured Marbles theme from the Marillion album of that name; still regarded as a high-watermark of its 30-year career by many. There’s a whiff of Another Brick In The Wall in Fracture. A Million Miles Away  comes from the same stable of confident, mature pop rock as Don’t Hurt Yourself – albeit with a darker edge – also from Marbles. The album is rich in intriguing sonic detail: back-projected, tinkling, burbling samples, squeeks and washes that convey atmospheric depth – this an obvious point of comparison with the aforementioned Nephilim – and impart a sense of unity to the collected songs. The middling pace is broken on occasion: Outerspaced is a demented stomp rocker; Aerosmith in their drug-addled vintage transported to the restaurant at the end of the universe. And The ‘Other’ Other Dimension almost overplays the gently psychedelic element that elsewhere simply suffuses and underpins the songwriting. Totally overplays it, actually, it’s a bit silly, in a Viv Standhall-as-Dr Who kinda way. But these diversions just serve to add colour to an already rich palette in the end. It’s a thoroughly enjoyable journey, all told. The story, such as it is, remains as opaque as Dream Theater‘s Scenes From A Memory was until I looked it up on the Wikipedia page; but I still feel I was taken somewhere, which after all is what the best prog – hell, music – is supposed to do.

So I was understandably excited to receive today’s email from marillion.com updating me on the progress of Edison’s Children‘s sophomore release. It’s going to be called The Final Breath Before November. As before, it’s predominantly the work of Trewavas and Blackwood – with the duo handling all the guitars, keys and digital wizardry, vocals, recording and production – plus support from a handful of collaborators including Henry Rogers (DeeExpus/Touchstone) on drums and Wendy Farrell-Pastore on additional vocals. With Trewavas fielding a full schedule touring with his day job and working intermittently on the next Transatlantic album the man is clearly on fire, and if the last album is anything to go by, Blackwood makes for him an excellent creative foil. As Marillion have previously done since 1997, EC are employing a crowd funding model and fans wishing to buy-in early can support the upcoming release by heading over to the EC pledge page HERE .

TFBBN has a lot to live up to and I don’t mind stoking the flames of expectation a little higher.

p.s.

Having mentioned Kino and Transatlantic up top, it seems churlish not to include a little of their brilliance into the mix. Check ’em out too:

(Bit of an epic this one – amazing gig, though; and I can vouch for that cos I was there 😉 )

 

Sounds that have been made

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Further to Sounds That Can’t Be Made and The Power of Marillion

The EPK for ‘STCBM’ has now been posted on Youtube (link below) featuring further tantalizing insights into the writing/recording process, soundclips from all the new songs and a few images of the artwork adorning the special, pre-order ‘campaign’ edition available from Racket Records. As the proud owner of previous such editions – ‘Anoraknophobia’ (2001), ‘Marbles’ (2004) and ‘Happiness is the Road’ (2008) – I can testify that these are high quality presentations and guaranteed to appeal to ‘old-school’ rock fans like myself who still appreciate eye candy to go with our ear candy. Need convincing?

Witness the moment ‘Happiness hits the doormat’ for this excited recipent back in 2008:

As for the new record, the official band statement reads thus:

“The mixes are complete and the album will be mastered early next week.

We’d like to thank you all again for your faith during the making of this album and huge thanks to everyone has already pre-ordered the album from us. With over 72 minutes of music and 8 songs we hope it will be worth the wait!

We are gearing up now for the UK tour which starts 9th September (http://www.marillion.com/tour) and then onto what seems like permanent touring until the end of the year. We hope we can see many of you on the road.

It’s been quite a journey so far and we’d advise you to be part of it!”

Find the EPK here:

And if perchance you’re now persuaded to stump up 30 of your hard-earned quids (about 47 bucks) plus shipping then heed the good folk at Racket Records

“Although we will continue to sell the Special Edition of Sounds That Can’t Be Made, only orders received before MIDNIGHT GMT 20th August will be guaranteed to be shipped in the first batch which is expected early September, so please order now to avoid disappointment!
(http://www.marillion.com/shop)

If you only want to buy the CD in retail shops – the jewelcase edition will be released worldwide by Ear Music on September 17th. But do remember that we ship CD’s worldwide so feel free to visit us – nothing makes us happier than packing CD’s :) We hope many of you will receive it before the start of the UK Tour but that’s probably down to the Postal Service!

If you were undecided about ordering the special edition – then please know that the full length interviews and studio footage that you have seen on the Sounds That Can’t Be Made trailer, form an almost 2 hour long bonus DVD that comes with it! So don’t delay, order today!”