THIS WINTER MACHINE

If my memory serves me well, I got to know this album through some internet station. After listening to it several times, I finally put my finger on what works for me and what not. But first things first, This Winter Machine is a neo- prog band founded by Al Winter in 2016. On this album, at least, the band is primarily keyboard-driven. The album consists of five songs only, since two of them are epics and another one nearly so. The longest one, which is the title track, kicks off the album and it is a highlight with its beautiful melodies, mainly on the piano. But from the first song it becomes apparent, to me at least, that there is an issue with Al Winter's voice: when he holds a high note it sounds as if his voice is trembling. But thankfully most of the times he sings at a lower register, so this issue doesn't come on too often. The Wheel starts very promising but on the 2:40 minute there is a theme change on 5/4 time which, bar a few meters, remains the same until the end of the song which is 6 minutes long and it wears me out well before it is over. Then comes an instrumental track which although is five minutes long it comes off as half-baked, but then again maybe this is why it is named Lullaby (Interrupted). On After Tomorrow Comes the issue I mentioned becomes more evident than ever. It would be a really nice song since the melodies are captivating but for me it's just too much, he sounds as if he is really struggling to hit the notes. But the best was saved for the last: Fractured is the album's top song and its ten minutes go by in a flash. Everything is in place here where the band plays on its strengths. Last, I will mention that I haven't paid detailed attention to the lyrics, but they belong to the aforementioned strengths of the band.

In spite of some things that don't work quite well for me, I am positive that every fan of neo-prog should give this band a chance and hear and judge for themselves if it is right up their alley.

After I reviewed their most recent album, 'The Clockwork Man', I said to Al that I had never actually heard their third album although I had reviewed the others, which is why I am now listening to this release from 2021. After their second album, 2019's 'A Tower of Clocks', everyone in the band departed, leaving singer Al with the name and songs, so the only thing to do was bring in a new line-up which he did with the addition of Dave Close (bass, vocals), Simon D'Vali (guitar, vocals), Dom Bennison (guitar, vocals), and Alan Wilson (drums). He was unable to get the services of a keyboard player, so Pat Sanders (Drifting Sun) is on seven tracks, Mark Numan (who was in the band for the previous album) on one and Reuben Jones on two.

Although there had been a dramatic shift in personnel, this is very much an album which follows the same vein as the previous one (and is also very much in keeping with the one which came later). Strong vocals, great melodies, nice guitar/keyboard interplay and foundation setting rhythm section and here is a 90's neo band bringing back the days when we would go and see Galahad, Pendragon, Pallas, Credo, Jadis, Landmarq and the others (not as in your face as Shadowland, Mentaur or Threshold). It is difficult for me to move my memories of the scene away from the music as it is so very closely aligned indeed and there are times when Al's emotion makes me think very strongly indeed of Mark Colton (the softer side, not the venom). This is music which is reflective, with plenty of space for everyone to shine, and they all take the opportunity to just that. This never feels like a "new" band but one which has been working together for a long time, and certainly never feels as if it has involved guests in the key role of keyboards which is an integral part of the whole album.

It is difficult for me to gauge from the other side of the world just how This Winter Machine are viewed in the UK, but I know if I was still living there, I would be making every effort to attend their gigs as is melodic neo prog just like it used to be, and just how it should be in the current day. Nice.

Although this is a band, and not a project, these guys have had some issue with continuity of line-up over the years, and this has continued through to their fourth album. After 2019's excellent 'A Tower of Clocks' there was a mass departure, leaving singer Al Winter to bring together a brand-new group plus guests for 2021's 'Kites', which for some strange reason I never heard. Now we are back with their most recent release, and this time apart from Al the only musicians retained are the rhythm section of Dave Close (bass) and Alan Wilson (drums) with new members in the shape of John Cook (guitars) and Leigh Perkins (keyboards, whistles, backing vocals) plus two guests contributing on one track each.

Given the turmoil in the ranks one might expect the quality to suffer, but that is not the case as yet again we have a really enjoyable neo prog release which has a lot going for it the first time it is played, with hidden depths becoming apparent after repeated plays. It is a concept release, based on dystopia and steampunk, and Al obviously has a very clear idea on what he wants to achieve, even stepping aside on "Change" for Andre Saint to guest on lead vocals on the heavier track as it is obviously what he felt that song needed. This is very much neo prog, but it has been polished and crafted for the modern age so there are elements of symphonic and even crossover in what is being presented, which means that people who are fans of commercial melodic rock will also get a lot out of this.

The last time I reviewed This Winter Machine I said they contained obvious elements of early Pallas and Marillion, combined with some Pendragon, Galahad and Grey Lady Down, and I still believe that is the case even with a total change in personnel apart from Al, yet here it is polished to a high degree. Hopefully they will find more continuity in the future, as I note they are again looking for a guitarist, as if they can deliver music as strong as this with the line-up in turmoil what is going to happen when they are stable? Yet another solidly enjoyable release.

This is the third album from This Winter Machine (although first that I've heard), and I just love their overall sound and style. They are driven by a pop-rock feel and approach, but nonetheless definitely progressive rock. From the UK, with vocalist Al Winter as the heart of the band amidst some changing personnel, and getting some key contributions from guest musicians, including Mick Abrahams (Wishbone Ash), Peter Jones (Tiger Moth Tales), and Eric Bouillette (Nine Skies). Great melodic Prog, with nods towards more straight-forward rock, pop, and power pop. Very impressive and great fun. Very interested in hearing more from this band and seeing what they do next. 4 stars.

I was reluctant to look into this band after hearing a couple of tunes and doing my diligent research... after all the singer is the only constant member over the past 6 years, and sees fit to include his name in the bands title? Red flags. But I took the plunge, and my fears of a dominant alpha male directing all his musos so as to reflect his talent is clearly misplaced. In fact, quite the opposite; John Cook (guitar) and Leigh Perkins (keyboards) are given many great moments to shine, which is remarkable as they are both fronting for Al Winters band for the first time. The album starts with atmospheric opener The River Pts 1 and 2, which give an early indication of what Cook and Perkins (equally adept with synth and piano) can provide. A highlight for the duo is their co-written instrumental Reflection, including a rollicking piano and guitar section which reminds of a long ago Pablo Cruise instrumental. Winters voice is decent, without being a dominant feature; best when given room to breathe in tracks such as the Marillionesque Lights and the album highlight Nothing Lasts Forever. This track has a gorgeous melancholic opening half with interludes from a pan pipe (moog?) and then it's interrupted by a soaring synth followed by a blistering guitar solo, before returning to the original vibe. Love this. This album demands more of my attention, at this stage I have treated it as a group of songs as opposed to a complete opus that all concept albums deserve. I need to check out the story and this albums lyrics, I am sure it will assist my appreciation even further, particularly the final track which I feel is a let down sonically, but accept it would be more powerful if taken in context of the unfolding tale that is portrayed.

Al Winter and This Winter Machine return for their 4th album with this ambitious and masterful concept album showing great imagination and musical skill. Featuring a compelling narrative mixing sci-fi, steam punk, comics, and commentary on modern society, and dealing with human cloning and a repressive society, the album moves from song to song telling the story, but also providing a wonderful tapestry of melodic prog, from gentle ballads, beautiful melodies and vocals to more rockin' prog instrumental flourishes, culminating in the dramatic closing mini-epic Falling through a Hole in the Sky. Highlights include The River, parts 1 and 2, Solitude Silence and Steam, Final Goodbye, Changes, and the beautiful Nothing Lasts Forever. Overall, a fantastic album of melodic progressive rock, beautiful, powerful, emotional, thrilling. 4.5 stars.

Back in 2017, a snowblower cleared off the dense white powder from the Neo-Prog highway and introduced a modern twist to the genre with a clever debut album "The Man Who Never Was", fronted by a talented lead vocalist in Al Winter. Incorporating all the traditional IQ/Marillion characteristics with a sharper edged instrumental attack, all well blended within smartly created songs, it was certainly a most welcome surprise. The 2019 follow-up "A Tower of Clocks" was equally a terrific offering, though it did reveal a penchant for retooling of personnel which continued with "Kites" (in 2021). It seems that every 2 years, TWM needs to redefine its components with new innovations, much like a Formula One racing team constantly searching for a higher level of performance. Having retained the rhythm section of Dave Close and Alan Wilson surely settled all the suspension issues once and for all, as the only alterations this time was the incorporation of guitarist John Cook (tires) and keyboardist Leigh Perkins (chassis), assuredly resulting in better road adherence and improved aerodynamics. The 2023 season introduces the shiny new prototype "The Clockwork Man" and it's a chequered flag, definitely podium, anthems and champagne baths galore!

As the green light flickers to launch the race, the revert to an epic ignition (just like on that debut album) is a welcome evidence that this turbocharged engine is 'cooking' on all cylinders with the highly symphonic roar of "the River", a nearly 12 minute masterpiece that sets the thrill factor, as the razor sharp guitar slices through the fog of impending sizzle, the sonic acceleration determined and focused, whirlwind keyboard fluttering menacingly, until the mid-section where Leigh presents a melancholic piano etude, as Al hushes with a silent lucidity , the two combining to elevate a glorious melody to heavenly heights. Guest guitarist Ade Fisher (Stuckfish) decorates further the anthemic outcome. Great opener. Without changing gear, around the bend comes another extended piece, "Solitude, Silence and Steam", once again showcasing the Cook and Perkins teamwork, as their commonly woven theme is relentlessly pursued, on the verge of hypnotic. This sense of floating mystery is best expressed by Al's melancholy tone, burst by a needle-sharp axe solo, needless to say to the point! The short companion piece, "Final Goodbye" has a bass lead that adds a rabid quality to the perpetually honed guitar riff, a perfect change of pace.

Speaking of "Change", featuring guest voice Andre Saint, the mood has now unquestionably shifted to an altogether heavier octane, overheating carburetors ablaze, shuffling gears galore, as Perkins introduces some heavy mellotron gales, slivers of whistling synths not withstanding into the bombastic mix. Intense, fiery and at times, sombre, the exalted thrill is there. The chorus is simple and darn effective as its sticks to the nodes like ill tempered oil. Glittering piano tones resonate with finesse on the electric instrumental "Reflections", rising in tandem with the raunchy guitar to provide a dual energy of power and melody, proving how this duo is clearly in touch with each other as well as with the expected mood. John Cook caresses his fretboard with unreal skill, both highly technical as well as deeply emotive.

A restless pant opens "Nothing Lasts Forever", leaving the microphone in the hands of band leader Winter, whose balladeer talent is clear, singing a simple and genuine song, with a pastoral flute acting as a pied piper leading the flock into a synthesizer sound garden, obligatory axe solo weaving around the massive mellotron orchestrations, voyaging from a tune to an anthem and back to a song. Shining a bright voice on "The Light", a shimmering piano in tow, Winter shows off his vocal abilities in a convincing fashion, weaving an honest story. Celestial orchestration suffice. The curtain comes down on the pleading "Falling Through a Hole in the Sky", a fitting finale lush with fatality and a certain despondence that stamps this latest venture with undeniable entertaining credentials. Expertly crafted to gradually raise the depth, tempo, and pace to a vortex, where dramatic interplay has created a crest of sound and melody that verges on explosive, all instrumentalists pitching in to raise the fever even higher. A blitzing guitar solo for the ages, kills off this tremendous track with a sonic dagger through the heart.

BTW, there is a concept theme involved here, based on a comic book by Andrew Richmond, about a dystopian society, a common theme lately in the arts, perhaps only a few weeks away from reality, by all accounts. Also Al (is for Albert and not artificial Intelligence) and Winter is a human being, if you are wondering.

4.5 frosty robots

This is original to say the least! The new and fourth album from THIS WINTER MACHINE is inspired by a "comic" by Andrew RICHMOND, writer, illustrator and designer (among others) whose illustrations you will find in the album booklet; musically it is a single fifty minute piece divided into eight parts, so concept once again, the main subject is human cloning from egg to adult at accelerated speed where the female does not exist and where the clones are only present for low and dangerous tasks, fueled as they are by pills which only aim to keep them docile and without any ambition, an existential program of relative complexity that I can be discovered when reading the comic strip.

All that remains with Al WINTER is the rhythm section from the previous disc, the two soloists are therefore newcomers, a "bad" habit of the omnipotent leader of changing musical companions at every moment...like Ian JONES of KARNATAKA who comes out with tangible skills and we'll see that further, the same goes for Al on this album.

The least pleasant portion of a record which is overall "Change" may be because it is sung with two voices, the chorus by Al WINTER and the verses by a guest André SAINT, regular vocalist of the melodic rock formation with progressive connotations GRACE AND FIRE (very popular by the way), it's like a hair in the soup, we were on a song/music module with beautiful continuity and then, suddenly we branch off towards five minutes forty-one which breaks the atmosphere...destabilizing!

On the rest of the album, the complementarity of the musicians is significant. The new six string players John COOK stands out particularly on the introductory "The River" (the cavalcade on the neck is remarkable and noticed) on " Nothing Lasts Forever" (the album's ballad of incredible melancholy) and the terminal "Hole in the Sky" where he literally supports the piece with an incisive guitar, nervous and disheveled but which knows how to remain melodic, the final solo is to be included in the heritage of progressive music.

Keyboardist Leigh PERKINS is brilliant on "The Light" (on piano), on the introductory "The River" where he positively supports his fellow guitarist with keyboard motifs that are always in place although quite discreet, a pretty sarabande pianistic at 6:40 softens the piece (energetic until then), concretely a little-known instrumentalist but of real effectiveness.

"The Clockwork Man" is certainly a neo progressive record but a modern neo progressive driven by a real story (complex I grant you), created and performed by surprising and talented musicians, which places it among the notable works of the genre to through the decades, nothing less, the equal of THIS WINTER MACHINE's first disc, emblematic for the future.

The accessibility of neo-prog with some of the complexity of symphonic prog. A real delight to listen to. Lots of keyboards, which seem even more prominent than the vocals here. The vocals are fine, if a bit nasally. The music is very nicely layered, with relatively simple parts and some complex parts. The complex parts are prog at its very best-- lots of interesting things going on without too much dissonance. Every listen reveals something new.

Only five tracks, but in true progressive rock fashion, most of them are quite long. The only song of normal length is an instrumental. Production values are fine, although not as polished as the music deserves. The liner notes reference "nothing can survive in a vacuum" and "we turn the page," a clear reference to Rush's "Turn the Page," and it's obvious that '80s Rush was a big influence on the band.

Highly recommended, especially for neo-prog fans. 4.5 stars.

An obscure recommendation that kept showing up when I was looking for good Prog albums several years ago. The front cover reminded me of Doctor Who for some reason. It had really good reviews and because of the front cover and the constant recommendation I decided to give this one a try. So glad I did!

Not many albums this melodic that have this much depth and sound like a different album every time you listen to it the first couple dozen times. The first listen impressed me quite a bit. Gave it another listen and another. How is this happening? After a few listens on the internet videos I just had to buy this album. Repeated listens and never getting bored as every listen was a new experience.

From the beginning piano solo from the title track at the beginning of the album to the hypnotic guitar solo at the ending track of Fractured this album has you glued to your seat from beginning to end. The Wheel is a very adventurous track and Lullaby a good Instrumental Rock track. After Tomorrow Comes starts with another piano solo. The arrangements and depth of this album are loaded much like my favorite albums from the 70's I have listened to dozens of times.

Yet nothing about this album really stands out as superb there is enough going on to make you come back for more. It's the only album that really has interested me from this band. Not many albums give me the experience this one did. Hope everyone who listens to this album has enjoyed it the same way I did.