THE SWAN CHORUS

1. The Upside of Down is a typically UK sound, a prog-pop rock bordering on funky with its brass and catchy riff. 2. Got Religion, with the Blues Brothers rhythms and the energetic piano, a hint of Grease to further unnerve you, fresh, to be enjoyed on a mountain bike with the wind gently slapping your face; note the velvety and melting keyboard of the time. 3. Estus Pirkle Night opens with piano, yes, David does everything from electric to organ; there's a nostalgic air to this track with the arpeggio break taking me back to GENESIS; the final wild synth solo sets the place on fire and shows that you don't have to have a guitar hero for every song. 4. It's Not the End of the World, the intro is always polished, we understand better what kind of tribute they were; the vocals begin to have their effect and integrate into the instrumentation; The energetic rhythm reminds me of the heyday of AOR with BOSTON, and later TOTO; fresh progressive blood too with this development and its soaring violins, a bit of ELO, a bit of more recent HOGIA, ah, the acronyms are there. 5. Space Force and its warning siren, the fast pad, the piano even more, the synth à la 'Mars Attack', captivating this track, catchy, between jazzy and hi-hat, between cabaret freshness and festive rock bordering on heavy with its frenzied choirs, a breath of fresh air with the enjoyable hard outro. 6. Little Fools for the suave Asian ballad, vocals by Solaria or Natalie, melting the ballad; evolution for the typical crossover track which reveals its prog declination over the course of listening; hints of ELO in the distance for the velvety orchestral base. 7. You'll Never Get to Boston, a funfair organ intro with applause, a sort of "The Persuaders," or when the cinematic beauty lingers; acoustic guitar à la KANSAS, ethereal choirs, and a waltz solo; focused on the chorus.

8. World in Action, a direct attack, a meeting of rock and new wave by the CARS; an easy track with its marshmallow guitar solo, the other on a Japanese keyboard. 9. Watching, a GENESIS track; I'll let you search a bit for the fat and catchy keyboard; always rhythmic with the choirs that show themselves more, in short, it jerks. 10. The Dragon Who Swallowed the Sun, a 60s guitar intro, from the era of gangsters in dark glasses and Piaggios; a solemn air on layers of keyboards. 11. The Devil in ABQ, for its slide guitar sharpening the piano notes; A little harmonica and we find ourselves in Louisiana, a Cajun zone that sounds good with the jerky air inviting us to dance with its thunderous trumpets. 12. Open Minded intro à la COLLINS, a Japanese zest, on JAPAN then the sax reminiscent of Phil and it's off for the repetitive title; here we have to wait for the break to feel the frenzied rhythm. 13. Blame on You for a nervous bluesy rock with a strong 80s feel; lively with the fat synth and dynamite drums; more energetic melodic rock in fact. 14. What the Butler Saw superb dark intro, disturbing, fresh, electric, nervous, in short cinematic; well, the CARS keyboard I insist with its haunting stereo reverb, the guitar riff that comes in announcing a superb solo precisely, it spurts everywhere; fusion of a TOTO, YES, CARS, brief monolithic piece with the heady and rhythmic keyboard for the rest; a beautiful moment gradually becoming wild.

Today I am featuring an album that includes one of my Facebook friends, David Knowles (he does not know I am reviewing this). The band is called "The Swan Chorus," and the album is their second release "Achilles and the Difference Engine," released in 2023. The band is based out of Liverpool. Even though their first self-titled album wasn't released until 2018, they actually have a history that goes back to 1979 when David Knowles and Colin McKay began working together in a band called Achilles. They played all original prog-rock, composed by Knowles (keyboards) and McKay (guitar and vocals) While they gigged heavily, they did not release any music that I am aware of. After Achilles split-up in 1981, Knowles and McKay continued to work together. Next up for the duo was the band Here's Johnny formed in 1984. They released 4 singles on RCA, including "Idlewild" with the BBC's "Syd Lawrence Dance Orchestra." Here's Johnny broke up in 1984. By 1989, David had formed a band called Life that played "a blend of progressive rock with a commercial pop feel." Life only lasted until 1991 without releasing any material as record companies in the UK were not signing prog bands at the time, in favor of dance music. (I'd be interested in hearing it, however, if any recordings were made.) Evidently during this period McKay had left the UK, for a while, but it is not clear as to where he went or how long he was away. When he did return several years later, he contacted Knowles about working together again. Knowles had already been working with original Achilles drummer Peter Dover. The three recruited singer John Wilkinson and The Swan Chorus was born. As mentioned earlier, they released their first album in 2018, but this follow up was delayed due to the pandemic. Interestingly the first album does not include McKay in the credits. On this album, McKay and Knowles essentially played all of the instruments themselves, with Wilkinson singing, with "additional drums" from Dover and bass from Dave Jones. Perhaps David Knowles will help to clarify when he sees this.

So now that you know the background info, let's check out the tunes!

Track 1 - The Waffle House Index

This title refers to the fact that Waffle House Restaurants (in the USA, particularly in the Southeast) only close when the weather is extremely bad. It has become an informal yet useful measure of the severity of a storm. This 9- minute opener begins with a shimmering keyboard tone and other layers gradually emerge. At just before one minute, the band kicks in with some power chords. Excellent keyboard work from Knowles with a synth solo. There is a short guitar solo from McKay and then the vocals begin at around 1:45. The first verse is accompanied by acoustic guitar. Other instruments join in at around 2:15. Wilkinson's voice has been compared to Phil Collins, but he sounds closer to Peter Gabriel to my ears. Either way, it is perfectly suited to express the songs, which I assume are all written by Knowles and McKay. The groove changes at around 2:35. There are many layers of guitars and keyboards, while the bass & drums are a bit further back in the mix that I might prefer. There is a nice transition riff at around 4:05, then I believe I hear the holy grail of classic prog sounds, a mellotron. At 4:15 there is a cool solo bass riff then other instruments start joining back in. This is shaping up to be a nice proggy middle instrumental bit. Nice fingerstyle acoustic at around 6:30. I like the organ that enters around 7:00. Around 8:10 there is a Steve Howe style guitar fill. This section is very Yes-like to me. I like the lyrics here:

Now the Orange Messiah's immune to scandal Breitbart and Bannon and Ayn Rand's vandals Leading the song With inflammatory headlines and big, bright pictures Playing to paranoid curtain-twitchers What could go wrong?

But in the People's Republic of Cafe Nero Somebody's snowflake is someone's hero Proudly surveying the scene Now that the transgender bathrooms are clean . . .

Wonder who they are singing about?? LOL.

Excellent track!!

Track 2 - After Dark

A bit of reggae groovin' here. I like the full sounds of the keyboards, like a horn section and organ all at once. It's a very strong arrangement. Nice guitar solo at around 3 minutes. This one is more pop oriented than the opener, but in the best possible way. I don't detect any auto-tune or cut and paste sections. Think more like something Steve Winwood might have done in the 80s, around the "Back in the High Life Again" era. Good track.

Track 3 - Being There

Wondering if this is a reference to the classic Peter Sellers movie. This 7 minute cut begins with a beautiful piano part from Knowles in a ballad style. He starts playing a riff at around 40 seconds. At about 1-minute the keyboard part reminds me of Tony Banks from Genesis (I believe some of the members also perform in a Genesis tribute band, so that checks). The vocals enter around 1:40. Icy keyboard tones and acoustic guitar create the soundscape here. Yes, this is a tribute to Peter Sellers. There are several references to roles he played. I know some of the songs date back to the early 80s Achilles era of the band, so I'm guessing this is one of them, as I recall that was around the time of his passing. I love the wordplay in the lyrics. The tempo picks up slightly and becomes more rhythmic with about a minute left. After a keyboard lick, there is an excellent guitar solo before the keys take back over to close out the song. I'll put this one in the category of hauntingly beautiful.

Track 4 - Cold Comfort

A 6-8 organ arpeggio pattern starts this one off with accents from the band; it feels a bit Wakeman like to me. I love the drumming when it kicks in. I like the quick 6-8 feel. The guitar chords sustaining behind the 6-8 rhythms remind me of Pete Townshend. But then at 1:20 we shift to a Beatle-esque 4-4. The 6-8 and 4-4 keep alternating. Excellent countermelodies between the guitar and keys just before the 2 minute mark. Just after the 2 minute mark we have a nice proggy synth solo. Then the organ sets the stage for a wonderful guitar solo. Outstanding use of the whammy bar at 2:57 (I'm a guitarist, I pick up things like that ;) ). I like the layering of the guitar parts throughout this section. Another verse follows the instrumental break. Again I wish the bass was more prominent, as it seems to have a Chris Squire flavor to it. I love the ending bit. Great track!

Track 5 - Contender

Solo piano begins this one as well. This one sounds like Knowles had some classical training along his path. Well- done. At 40 seconds, a descending riff accompanies the vocals that simultaneously gives me ELP and Beatles vibes. There are cool fills along the ride. I like the vocal harmonies in the bridge at 2:20. Super-cool keys starting at 2:48! I believe we are in 7 for a moment before returning to 4-4. The story here is about a guy who goes to prison, and eventually gets a "groupie" with whom he has "conjugal visits." Then he goes on a bender after release but by that time he's a celebrity who is too big for jail then he's become a contender. It reminds me in its lyrical absurdity of Genesis' "The Battle of Epping Forest." (That's a compliment, BTW.) Well done with lots to sink my teeth into for a 4:30 track!

Track 6 - My Little Vampire

This begins with a classical guitar part. It is another longer track at 8:30. At around 30 seconds synths accompany an electric guitar part. However, not long after, they get a tone similar to Genesis' "The Cinema Show" going. This seems to be a love song to a female vampire. Excellent chord choice at 2 minutes! I love the mellotron choir that enters just prior to 3 minutes. There is an eerie keyboard part around 3:42. Then at around 4:10, the music pauses. A guitar solo part leads us into a faster tempo section. Nice syncopated drum part here. Excellent musicianship all around. There is a harpsichord sound and even what sounds like a flute before the vocals return. He is singing in great detail about the colors he would use to paint the sky for his vampire lover. A lovely guitar solo follows. The mellotron returns at around 7 minutes. I love the chord progressions they used in this song. Excellent and unique track!

Track 7 - No Idea

A drum fill leads us in. At 12 seconds there is a layered guitar part that reminds me of The Eagles' "Witchy Woman," but it is fleeting, so Don Henley can chill out. The music is very dramatic with some cool synth parts underneath. This one is pretty cinematic, sounding like it would fit in on an 80s movie soundtrack album (again, a compliment). Cool drum fills just before 3 minutes. A wonderful synth solo takes us to the end. Cool tune?very 80s.

Track 8 - English Electric

David Knowles alerted me to this one last year when I posted a review during the #100greatestprogrockchallenge of Big Big Train's phenomenal "English Electric?Full Power" album, as it has a similar name. Not being from the UK, I am not sure, but I am thinking that "English Electric" is the name of the power utility company there. Perhaps someone can confirm or clarify my suspicions. This has a massive intro section. I like the shuffle beat with the keyboards. The song is about the excitement of putting on a live show on the road. The song changes to a completely new groove at 2:30, slowing down and going into a dreamy section with fantastic keyboard playing. Then at around 3:15 the guitar takes over. We are in a floaty 6-8 now. Loving the new section at 4:50 that leads us back to the shuffle. Great prog!

Track 9 - Welcome Home

There are definitely a plethora of keyboard tones that Knowles provides! But after the short intro we go "totally" new-wave! It's somewhere between Devo and The Cars. I wasn't expecting this! I love the walking bass line. This is a bit of upbeat fun. Terrific unison lick at 2:30. I enjoyed it, it even has an old-school fade-out. Does anyone do that anymore? Fun track.

Track 10 - This Great Adventure

Ahh yes, a hallmark of a great prog album is the closing epic, and they give us a 14 minute one here. This one has synths fading in, before the guitar and keys do a bit of call and response. I like the bass back-beat as the music evolves. A big drum fill leads us into a new theme just before 2 minutes. The vocals come in at 2:15 with acoustic guitar accompaniment, and clean electric guitar fills. The band kicks back in at around 2:40. There is a girl mentioned in the lyrics who is bent on the narrator improving himself, and he says "It's all true." A mystical sounding part follows at around 4 minutes, then the groove returns and McKay plays a fusiony guitar solo, influenced by Alan Holdsworth to my ears. At 5:20 a funky-rock riff takes over, and the vocals return. A nice keyboard then guitar solo fills in between verses. At around 7 minutes, the bass keeps the rhythm, then there is a unique sound that almost sounds like electric violin. I like the funky guitar effect at around 8:30. Excellent a cappella harmonies at 9 minutes, joined by instruments. Really cool keys at around 10 minutes. I am enjoying all of the rhythmic shifts. No odd meters, just lots of changes in the syncopation. The main instrumentalists seem very balanced in who is featured at any given time. The song ends on a dreamy note and thus the album ends.

OVERALL IMPRESSIONS:

An excellent album indeed. My least favorite was track 2, "After Dark," but even it wasn't bad. The standout tracks are "The Waffle House Index," "Cold Comfort," "Contender," "My Little Vampire," "English Electric," and "This Great Adventure." I would recommend this to Genesis and Big Big Train fans without reservation. My main quibble is with the mix, it's not bad but I wish the bass and drums were more out front, as I think it would add more depth to the overall sound. Overall, however, it was a very enjoyable listen. I'll give it a 4.25 out of 5 stars.

Clicking 4, but really a bit better at 4.25

Nothing like networking connections to make the web a perfect recipient for new encounters (if its good for the spider, its good for me!), as this veteran Liverpudlian band has sent me a request for review of their new album Achilles & the Difference Engine, a follow up to their 2018 self-titled review which I have yet to discover. Presumably, a recent review of a few UK bands helped the introduction. Main men David Knowles and Colin McKay are multi-instrumentalists and John Wilkinson the lead singer (along with Colin) as well as being super talented, they (John & Dave) also were part of Genesis tribute band Mama. I was immediately struck by some hints of influence as Difference Engine is pretty close to Difference Machine from Big Big Train, a current prog favourite with the community. Then there is a track here called English Electric! Ah, surely just a few coincidences (except, at my 'mature' age, I am positive those never happen). No worries, the album is a sterling collection of 10 tracks that really hit all the buttons, in terms of enjoyment.

"The Waffle House Index" is a jaunty introduction in a rather bright and early atmosphere, perhaps even offering a breakfast treat to provide some tasty morsels. The instrumental keyboard dense presence is paramount, the ideal platform for some mercurial vocals, with Wilkinson having a reverential and overt tone reminiscent of Uncle Phil Collins. There are sufficient dynamics in the arrangement to keep the focus homed in on the subject and as such, is an exhilarating and elongated opener. Effortless change of pace on the tropical-tinged "After Dark", a piece that may come across as a proggier version of Aussie legends Men At Work who featured a delightful vocalist in (are you ready?) Colin Hay, the sunny track has that leisurely stop and start beach volleyball feel which is cool because of the title name. A swirly-twirly guitar rampage (Les Norton?) only adds coconut slivers to the daiquiri. Prog with a large dose of fun. YUP! Then the Swan get really serious with "Being There", a more typical crossover prog track with a classic impressive piano driven intro, though the atmosphere is maintained with reflectively mellow shimmers, crowned with extraordinary vocals, dripping in dramatic expression, always my weakness, particularly in a highly melancholic setting. The compelling lyrics and the heroic orchestrations show off some serious creative thought and execution, keeping the listener engrossed and captivated. Another curling guitar solo takes this into the heavens. Killer tune. Back to earth we come with two shorter tracks, first on the keyboard heavy onslaught that gives us more than "Cold Comfort", a rocking, live in concert delivery, fresh and expansive with a zippy synthesizer flurry, only to be challenged by some huffing organ and more electric guitar acrobatics. The vocals have a slight Fish feel, 'Bartender, another round!'. Keeping things in pub/bar room style, "Contender" is another rocker with a Danny Boy reference, shirt sleeves rolled up and pounding away at the ivories as the vocalist channels a vaudevillian Freddie at times, and even the e guitar has a Sir Brian twang. Back to serious-minded again, as "My Little Vampire" showcases the prog element in vivid illustration, Wilkinson doing quite the Trick of the Tail-era workout on the microphone, at times its uncanny. Massive keyboard settings and those tingling acoustic guitar arpeggios that made the Charterhouse boys famous, slashed with a patented Phillips-ian solo that shrieks like a knife. An album highlight to be sure and my fave track here. With its grandiloquent entrance, "No Idea" keeps the foot firmly on the accelerator, a razor-sharp delivery with torrents of background synths, thumping piano, and a fevered voice, swerving contrasts pushed along by an athletic pace. Though the theme may be one of confusion, the deliverance is secure and confident. The manic synth final section is breathtaking, I am sure. The guitar centric rouser "English Electric" is comparatively speaking a tad more bare bones, a rock piece perhaps better suited for the stage but halfway through, the composition transitions into an altogether different engine with fat bass tones, jangling guitar strings and a more meditative mood, before incinerating it once again with a rambling, bruising and rousing finale. Clever Trevor, as Ian Dury used to say. Speaking of which, "Welcome home" has a slight punkier tone, insistent buzzsaw guitar solo and a snarly disposition, not too far removed from Liverpool stalwarts The Teardrop Explodes, Echo & the Bunnymen or Big in Japan. I actually really, really LOVED this tune immensely. Finishing off with a gargantuan epic, "This Great Adventure "and its 13-minute running time, can only anoint this slick release with high honours. In fact, all the elements described above on the previous 9 tracks are found here in condensed form: technically profuse and inherently progressive, entertaining and riveting, honest and creative, undaunted and ambitious. A fantastic denouement and finale.

Adventurous, daring, diverse, definitely rogue (much to my delight), sophisticated, gritty, humorous, and playful, all these words (and those above) are what the Swan Chorus is about, and it is no coincidence that I enjoyed this album enormously. Intrepid music and otherworldly vocals, what more could you wish for? More please. 4.5 Heels and machines

The Swan Chorus are a six-piece progressive rock group of seasoned musicians from the Liverpool-area. Formed as a result of the reunion of the song-writing duo of David Knowles (keyboards) and Colin McKay in 2015, they soon recruited a number of talented local musicians ? including vocalist John Wilkinson and bassist Dave Jones (both members of the popular Genesis-tribute band, 'Mama' and more recently Tim Bowness's fictitious band project, Moonshot). Along with Peter Dover on drums and Les Norton and Eddie Devlin on guitars ? they released their eponymous debut back in 2018.

Like so many hard-working progressive rock bands, it is so often the case that quality music releases, that deserve a wider audience, just 'fall through the cracks.' I was personally unaware of their existence until a fellow TPA reviewer asked me to have a listen to them a week or so ago. I'm very pleased I did!

Over 10 tracks, including several of an extended length, you get some very enjoyable prog-pop to dive into. Music that is both vibrant, melodic, accessible, and song-orientated; yet also instrumentally progressive. Powerful, confident vocals and a deeper lyrical content throughout. This is infectious prog that needs to be spread to a wider audience.

Describing their style and sound is not straightforward, as the band have created their own soundscape, whilst signalling their influences across their diverse collection of tracks. There is, not surprisingly, a strong later-period Genesis feel ? largely related to John's impressive Collins-like vocals and David's melodic, later-period, Banks-style compositional structure. However, David is not afraid to add a layer of classic-era keyboards and synthesizers when appropriate.

Overall, though, I hear the 80s shiny, prog-pop of It Bites the most, along with echoes of the likes of Jellyfish, A.C.T., Unitopia, Southern Empire, Saga, lighter-style Marillion and Frost*, later-period BJH, Spock's Beard, I Am The Manic Whale and even Mr Mister, perhaps. Whilst the 'sounds like?' approach of an album review remains a useful way to draw a reader into exploring a band further ? it should never underplay the quality of the song-writing and the synergy the musicians have created between them.

The Hilary Step starts the album with an upbeat, chiming rhythm and pop sensibilities ? yet David's symphonic keyboard chords add nice proggy touches (especially towards the end) and John's clear vocals send out a hard- hitting statement of American politics over a mountaineering analogy ? "When I get to the bottom, I am never going up again!" Light and shade for sure. Don't Talk About is all 80s-style shiny pop on the surface, but the keyboards and guitar chords create a nice contrast and when simple guitar notes signal a change in tempo, it is an effective respite before the main tune reappears. Powerful guitar riffing by Les, over soaring keyboards begin The Dark Passenger, before Dave's hypnotic bass line introduces some biting, acerbic lyrics which echo the feel of Marillion's 'The Uninvited Guest'.

The Check is all clean, powerful, neo-prog instrumentation and flowing vocal harmonies. The diatribe against television evangelism might be similar to that sung by Phil Collins in 'Jesus He Knows Me', but I think this prog take on the subject works even better. Acoustic guitar over retro-70s organ begins Stand Together - one of the album highlights. However, the track soon gains pace and power, with some lovely, well-pitched guitar soloing followed by atmospheric keyboards. Politically-charged lyrics provide a real edge as well. It is where you will find the comparison with 80s Genesis most obvious, but frankly, if this had appeared on the 'Genesis' or 'Invisible Touch' albums, I might have listened to those albums more than I did at the time!

Pure Fate Star Shadow starts with haunting, ethereal voices before a very melodic theme takes over. The vocals now have a Fish-style to them, and the Moon Safari-like harmonised vocals and futuristic synthesizers work very well. The lyrics express aspects of Daoist metaphysics and philosophy and the interpretation of trigrams, all sung against a ridiculously catchy It Bites drum and bass rhythm provided by Peter and Dave. Another album highlight for sure. Performance Anxiety drives along nicely with a lyrical content you'd expect from I Am The Manic Whale.

The House That Jack Built ? the second longest track ? might start off with a Police-style guitar riff, and some mainstream rock themes, but there is plenty of room for some of the most progressive instrumentation on the album. Lush retro-keyboards and guitar noodlings run through to a resonating conclusion, but all wrapped around contemplative and intelligent lyrics. Poster Boy might be the most catchy, accessible, pop song on the album, but the dark lyrics, "I'm planning my revenge on the world, I'm becoming a poster-boy for raging paranoia" provide the sort of juxtaposition that John Mitchell has been so successful in creating in recent years in his many projects.

At over 17 minutes, Walk the Same Road, is the band declaring their prog credentials alongside their more pop- orientated output. It is something that both eras of It Bites did with some success, and their ambition deserves to be recognised. The smooth harmonies at the start have a touch of Barclay James Harvest and even hints of Big Big Train and The Beatles, before the music opens up into Genesis-style progressive themes and quirky time signature changes. An echo of Spock's Beard 'Go the Way You Go' prior to the mid-way change in tempo, perhaps. A sleepy interlude provides a refreshing contrast, although I felt it drifted on for a little longer than it needed to. Some smooth guitars runs do lift the mood, and we eventually regain the musical power and momentum from earlier. The track looks all set for a 'New Jerusalem/Afterglow' prog climax with the uplifting, intertwining lyrics of separation and reconciliation ? but it never quite catches fire and instead gently fades away ? although it does it rather well still with subtle acoustic guitar from Les.

For followers of the prog-pop of the 80s from Collins-era Genesis and Dunnery-era It Bites, where melodic, pop- orientated music could sit comfortably with full-blown progressive rock elements, the 2018 debut release from Merseyside's The Swan Chorus is well worth tracking down via Bandcamp. The extended period of lockdown and some personal health issues, have delayed progress on a second album and curtailed any possible live performances, but the recent posting of a new 'work in progress' demo hopefully suggest that this will not be a one-off project for these talented musicians. They definitely deserve your support.

(From The Progressive Aspect)