FISH ON FRIDAY

The Belgian band Fish On Friday originally took its name from the Catholic tradition of abstaining from meat and eating fish on fridays. However, the vitamins this band serves up are quite different. For years, they have been offering a delicious meal of progressive pop with a dreaminess reminiscent of Blackfield, a tasty dish that could easily warm the soul daily.

The album under discussion, "Black Rain," is the band's fifth release. While the group's history has not been overly spectacular, it still deserves some attention. Founded in 2009 by singer/keyboardist Frank van Bogaert and fellow keyboardist William Beckers, Fish On Friday started as a project. With the help of several guest musicians and brilliant cover art by Michal Karcz, they managed to make a strong impression with two self-released albums. By their third album, "Godspeed," released in 2014, Fish On Friday had evolved from a project into a full-fledged band. The fantastic bassist Nick Beggs, California-based guitarist Marty Townsend, and drummer Marcus Weymaere were promoted to official members. In this lineup, they also produced their fourth album, "Quiet Life," in 2017, which included a small role for Alan Parsons as the producer of one track. After this album, Beckers left the band, and their most progressive work to date, "Black Rain," was released under the name FOF.

The album has a slight conceptual theme, with lyrics addressing the rapidly changing world we live in, touching on topics like the environment, the many war refugees, and global political madness. Although the album certainly has its darker sides, there is also room for positivity and happiness. In this regard, it's not just certain lyrics but also the contributions of guest musicians that provide a necessary sparkle. Consider the playful performance of Theo Travis on saxophone, clarinet, and flute, or the background vocals of Nina Babet and Chantal Kashala. However, the most impressive contribution comes from singer Lula Beggs, whose wonderfully clear voice adds a golden layer to five tracks. Incidentally, she sings just as brilliantly as her father plays bass.

All of this is reflected in the eleven tracks that make up the album. There are no weak links here, and the claim that each track is either good or very good is easily made. The argument that the song material lacks stylistic variation is quickly dismissed, as each track stands out with beautiful, catchy melodies and vocal lines, each with its own unique DNA.

The first three tracks all fall into the "very good" category and leave you eagerly anticipating what's to come. The opener, Life In Towns, has a perfect atmosphere that, although highly reminiscent of Blackfield, doesn't harm the song in any way. On the contrary, the beautiful melodies thrive in this setting. The following track, Murderous Highland Highway, seamlessly continues this atmosphere, especially in the long instrumental section. After this electrifying piece, the title track Black Rain follows. Here, we often hear a band sound that can be associated with the new wave and pop of the 1980s. It's sublime, particularly the choruses that are deeply moving, with Lula Beggs' vocals in the background harmonies standing out. With this track, and certainly with the previous two, the band builds a tremendous amount of credit that benefits the entire album, not that the music needs it.

As mentioned, there are only good tracks. Songs like Mad At The World, Angel Of Mercy, and Morphine provide constant enjoyment, while the more uptempo songs We've Come Undone and We Choose To Be Happy also deliver. The biggest gem, however, is Letting Go Of You, where Lula Beggs shines brilliantly against a pearlescent background, while the closing tracks Trapped In Heaven and Diamonds dazzle with their guitar solos.

"Black Rain" is a beautiful, if not stunning, album, breathtakingly brilliant.

Orginally posted on www.progenrock.com

"8mm" is the sixth and latest album by Fish On Friday, the international studio band formed around singer/keyboardist Frank van Bogaert. Indeed international, with a guitarist living in the US and another band member from England, along with two Belgians. However, the progressive dream-pop/art rock of the group is truly exceptional. On "8mm," it sounds just as fantastic as on the previous album, "Black Rain" (2020), which is absolutely amazing. It all starts with the artwork by Michal Karcz, not only beautiful but also unmistakably carrying the FOF (Fish On Friday) aesthetic, which is logical since he has been involved with the band since their debut album, "Shoot The Moon" (2010).

The new album had a creation process spanning over 3½ years due to the lockdown. Nevertheless, this period of inactivity led to significant inspiration. "8mm" has become a beautiful contemplative record filled with expressive lyrics about, among other things, the loss of a loved one and emotions that took shape after watching a few 8mm films. Van Bogaert has managed to frame these lyrics with electrifying compositions that have a sultry and brooding feel.

A look at the lineup reveals that it remains unchanged compared to "Black Rain." With this reassuring consistency, you know you can expect a lot of beauty alongside Mr. Van Bogaert's atmospheric keyboard work. The music is filled with the outstanding guitar playing of Marty Townsend. At times, you hear him sparkling, at other times, he solos with impressive slide guitar work or showcases his talent on the acoustic guitar. The rhythm section also remains the same, with the tasteful drummer Marcus Weymaere and the presence of Nick Beggs, which is a delight. His creative playing on both bass and Chapman stick adds depth and spaciousness to the music. Beggs has made significant contributions to the band in two ways. Not only has he done a great job as a new co-producer, but his role as a singer alongside Van Bogaert has grown immensely. The rich vocal layering is of unparalleled beauty, with a touch of reverb here and there. Always excellent. Fortunately, his daughter Lula is back also. Her clear voice is a real addition to the music. She only appears in three songs, and it's smart she appears later on the album so you can look forward to it. She is truly the icing on the cake.

With the title track, which was released as a single, you are immersed in a pool of melancholy. This is not unusual on an FOF album, but this time, you are confronted with a piece of personal sorrow. Watch the video on YouTube and draw your conclusions. Van Bogaert adds some more prominent keyboard work, and then he takes it to infinity. Next is Collateral Damage, and you'll want to stay in your melancholic mood because the Blackfield vibe here is wonderful, although FOF is definitely not an imitator.

When I first heard the next song, I was left in awe in my wheelchair. This can't be?? This can't be Flame by Metro? But it was. A cover of one of my favorite songs. I've listened to the FOF version many times now, and all I can say is 'wow.' From the swinging overture with its funky guitar, through the complex section with the beautiful acoustic guitar, to the swelling finale, the FOF gentlemen interpret the song perfectly. Especially Van Bogaert's singing carries the same melancholy as Duncan Browne.

Van Bogaert and his colleagues must be brimming with confidence because by placing this sublime cover so early on the album, they set the bar very high for themselves. However, FOF effortlessly maintains the high level with Jump This Wall, where Theo Travis delivers delightful saxophone and flute passages to the listener, or Funerals, which, after a strong middle section with organ and later acoustic guitar, explodes into a blissful finale. Especially the songs with Lula Beggs, Silently Raging and A New Home, have that magical touch that makes every album special. "8mm" closes with something unique. Life Is Like The Weather is an exceptionally beautiful little piece.

With "8mm", FOF has delivered a true masterpiece. An album so full of atmosphere is indeed something extraordinary. FOF has the urgency to create such music, and that deserves a deep bow.

Orginally posted on www.progenrock.com

Let's just start here by saying that this band just keeps progressing and gets better and better with each release. No easy task as their previous effort 'Black Rain' was an outstanding offering, well worth checking out if you haven't already. This one, arguably, is better still. It is filled with beautiful arrangements, melodies, and instrumental excursions that are at times haunting, other times invigorating and uplifting. The lyrics are catchy and intelligent, often highlights of the songs. The vocals are most enjoyable and pleasant. They are strong when warranted, appropriately soft and aethereal at times, with plenty of engaging harmonies. This band is a master of songcraft for sure! I seriously wonder if this group of artists could produce a bad song even if they set out to do so deliberately.

This album, like the previous one, is highly accessible, but has plenty of cross-over prog aspects such as tempo changes, instrumental shifts, and different sounds and moods. There is plenty of variety to keep it interesting over repeated listening. That being said, some may tend to say this is more on the soft rock & pop side, and this is arguably so. But be thinking in terms of later years Moody Blues, Alan Parsons Project, early Beatles, some solo David Gilmour, Pink Floyd, pre pop ELO, early Supertramp, Blackfield, and others in this vein. There are more influences that are not coming readily to mind, but you should get the idea. The outstanding achievement is that while you will catch glimpses of these influences, this is no knockoff band. FoF has a definitive and unique sound. The conclusion is that, if this is somewhat more pop than prog oriented, it is highly elevated, sophisticated, and has a musical integrity and degree of complexity that doesn't insult your ears or intelligence. One can only hope this album gets the exposure it surely deserves!

So, some thoughts on the tracks...

8mm: FoF have a knack for starting their albums with a great opening track and this one is no exception. Here we have the title track and what a way to start! This is nearly a perfect song. Starts with pensive piano over projector sounds. Anyone with a little age on them like me remembers these noises and it creates an uneasy DeJa'Vu and a sense of loss for days gone by. Full instrumentation quickly follows with the opening lyrics soon following perfectly encapsulating these feelings. About 2:15 the tempo changes and there is an instrumental escalation that captures the sense of emptiness and frustration that comes from being able to recollect the past but not bring it back, and then to conclude, it returns to the lovely opening melody and lyrics, and fades out. Prog oriented enough for me. I'll say it again, a nearly perfect song. Hard to believe, but there is better yet to come. (10/10)

Collateral Damage: Okay, another nearly perfect song, albeit in this case more on the pop side of things. Starts once again with a tinkling of the piano and then full instrumentation following, nice acoustic oriented guitar work building up to electric guitar with some pleasant, restrained soloing. The catchy lyrics and hooks drive the earworms in deep. If you don't want to sing along with the chorus after a listen or two there must be something wrong with you. Perhaps a tiny bit repetitive, but it's just so good that you won't care. (10/10)

Overture to Flame: The shortest track, and the only instrumental, and it is way too short. Starts with a striking guitar riff over light synth wash, drums enter to up the beat, and then a synth rhythm follows that raises up the Alan Parsons vibe in a big way. If you like the old APP instrumental tracks, you will love this. It is unfortunate because it is so good, that instead of exploring this instrumental line more fully, it drops off quickly to fade into the next track. It is an overture after all, the warmup and lead in for what is to follow. We'll lean this one to the prog side. (9/10 Docking a point because it is too short!)

Flame: So here we roll into the longest track of the album, and arguably one of the less pop and somewhat more prog like ones. According to their web site, this is the first cover that they have ever done, and they chose a good one. I looked for the original to compare them, but couldn't find it, so I'll venture to say that it is a bit obscure. In any event FoF seems to have made it their own with their signature way of constructing songs. This one starts slowly with nice acoustic guitar, almost with a hint of a Spanish melody, slowly builds and then ballad type lyrics and vocals enter around 1:45. The music drops back to acoustic guitar and slowly builds up again. The arrangement is very nice with some upfront bass and enjoyable drum fills steadily moving things along. About the 6:00 minute mark the beat picks up out of ballad mode and starts to take flight, the intensity builds to its outro fade out. Another great track. (9.5/10)

Jump This Wall: This was the one that was a grower for me. It's curious that this was the case really, as it is a very good track, musically interesting and upbeat, with even a touch of brass laced throughout. The male and female vocals add an extra dimension, and the lyrical content is timely, touching on 'being locked up in a lock down', seemingly alluding to the contradiction of having freedom to move and at the same time dealing with so much isolation at the same time. All good and well. Here though, was my problem, the 'I'm having a ball trying to jump this wall' chorus which is prominent throughout the song didn't really work for me. Although a catchy rhyme, it just seemed clunky and awkward. It even annoyed me a bit. But after a few listens to the album, what lyric kept popping into my head? Yeah, this one. Go figure. So, it's a grower. My lowest rated song for this album, but still very good all in all. (8.5/10)

Don't Lose Your Spirit: This is a big one for this collection and for FoF in general, starting with a great instrumental intro for the first 2:30 that slowly keeps building in intensity, pretty rocking for this band! Then suddenly, a big tempo change but still with a strong beat, and vocals enter. The blend of male and female singing makes this full and rich sounding. Another chorus here that you can take home. Last minute ends with yet another contrast, a quiet contemplative tone with a slow brooding vocal fade out finish. These guys are just so good at what they do. Yes, another near perfect tune! (10/10)

Funerals: This is my number one track here, and may in fact be the actual perfect song in this offering. This one checks all the boxes for me. While still cross-over and immediately accessible, this has definite prog roots with some nice shifts and variations, but it's long enough to develop the themes and sections to satisfaction. Starts with a slow tempo, and just slightly eerie tone. The vocal carries the feeling further, with guitar coming in to further enhancing the eerie flavor. A little further and the synth enters just building things up more. At about 3:45, there is a big tempo change and the mood shifts to a more happy feeling but with an organ underneath keeping the slightest hint of the eeriness, and then a memorable acoustic guitar lead over the top. Very nice! Drops back to bring the vocal full cycle with the opening flavor but just a bit more lifted up in intensity. Lyrics in this song shine. On the one hand you can relate to the idea of unrequited attraction, but on the other hand there is just a bit of creepiness given the context. Leaves you wondering. A great song! (10+/10)

Silently Raging: Starts with a light synth roll and percussion, while spoken word vocal touches on the growing loss of privacy by facial recognition, followed by a female lead vocal with male backing, so there is a different and warm feel to this. There is a bit of edge that picks up the anxiety of the brave new world we are all facing. Some nice lead guitar in this one to good effect, but always in control, never unrestrained. This is followed by a second spoken word section that this time touches on trying to allay any concerns of our being monitored by the powers that be. Timely stuff, and another strong track. (9/10)

Instillers: Starts with a sort of Genesis atmosphere, with synths similar to their Duke era sound, but quickly grows into a big up tempo arrangement. Big guitars, bass, synths, and drum propulsion. Every instrument is sounding distinct and powerful here, well mixed. Lyrics regarding the madness of mankind's course and poor interactions with one another sets the tone. The musical arrangement is intense, at least as intense as it gets on this album, and the ultimately positive message works well with it. (9.5/10)

A New Home: This is a beautiful duet in a mid pace ballad with just a bit of a jazzy vibe. This band makes these songs seem so easy to make. They sound so simple, yet there is a delicious subtle complexity and sophistication in the musical arrangements that is undeniable. It is just another example of how it so easy to be absorbed right into the FoF musical universe and just get lost in it. The lyrical theme centers around the plight of refugees. The predominant essence of the music is a mournful, longing overtone that has a sense of despair, yet it has enough uplift in it to also carry a ray of hope. Just so well done. Another very strong song for sure! (9.5/10)

Life is Like the Weather: The slowest, simplest, and most stripped down offering on this album. This one raises the ghost of early Beatles type ballads. It is also short like a 1960's single should be, catchy, warm and immediately likeable. A most classy and elegant closer. These folks sure know how to transform their sound in a myriad of ways and do it so well! (9.5/10)

In conclusion, this album is extremely high quality in most every way. Don't miss out on it! It's truly dumbfounding that it hasn't received more exposure. In my book, there are four nearly perfect (10 pt) tracks, another four (9.5 pts) that are just shy of this mark, and the remaining three receiving high marks as well. The production is extremely high quality, clear and vibrant, with every instrument easy to pick out and follow. Nothing muddy here at all. The arrangements are superlative, a combination of top tier song writing along with prime musicianship that extolls the talent of these artists. Everything here works together in a logical cohesive way, yet each song is strong enough to stand alone. The songs channel various emotions through both the lyrics and the melodies, creating a most refreshing experience, one that you will want to come back to frequently. This is definitely a five star effort in the cross-over prog category, highly recommended, and absolutely essential if you are into the accessible end of the prog wheel house!

International pop-prog band are back with their sixth album, their first without founder William Beckers but their fourth since prog royalty Nick Beggs became a full-fledged member. The album is also the first recorded with all band members present in Frank Van Bogaert's new studio in the Belgian countryside. Here the band pulls together to use their music to react to the COVID pandemic and all of its fallout.

1. "8mm" (4:43) A beautiful, fully engaging song that tells such a meaningful, relatable personal story using an AMERICA "I Need You"/ALAN PARSONS PROJECT "Eye in the Sky"-like sound palette and form to do so. Great team vocals from Frank and Nick. (P.S. I love the accompanying video that the band used to release this song onto the Web via YouTube.) The music here is simple but effective, giving lots of room for instrumental nuance and flourish. The final two minutes seem to offer superfluous material (maybe for the sake of the video) but the ending is satisfying. (9/10)

2. "Collateral Damage" (4:19) piano, strummed acoustic guitars, bass and rhythm electric guitar support Frank Van Bogaert's AMERICA/Dave Gilmour/ALAN PARSONS PROJECT-like vocal. Nick Begg's ChapmanStick really picks up its prominence after the first chorus. Nice motif switch in the third minute after Marty Townsend's pedal steel guitar solo. Nice atmospheric Neo Prog. Though the chorus is not my favorite, which is probably why this one misses out on earning a place in my top three. (9/10)

3. "Overture to Flame" (1:45) instrumental intro to the next song. Great piece! Kind of a combo of Alan Parsons Project, and John Entwistle's bass from "Emminence Front." Definitely the proggiest work on the album. (4.625/5)

4. "Flame" (7:46) another 1:45 of proggy instrumental work bleeding over from the "Overture" leads into a solid song with co-lead vocals of angel-voiced Frank Van Bogaert and Nick Beggs and some very solid acoustic guitar work from Marty Townsend. A lyrics-delivery mechanism, I find myself a bit out in the cold as to the message and, therefore, the fullness of the song's intended impact. The singing here is actually the weakest part of the song: it's just a bit too wispy and smooth whereas I feel a need for some power to match or enhance the intricate instrumental work. (13.125/15)

5. "Jump This Wall" (5:54) opens with a nice APP/TANGERINE DREAM-like synth-led intro section before the full band kicks to create a lush APP/GENESIS NeoProg sound palette. Awesome multi-voiced group vocals (including co- composer, Sofi Dykmans) and some fun Nick Beggs Rickenbacker bass walking. I'm not quite sure what the lyrics are about: "I'm having a ball, Frankie, let's jump this wall," "Mississippi" and "freedom"?!? Bonus fun is the presence of Theo Travis on alto sax and flute. Still: a top three song. (9.25/10)

6. "Don't Lose Your Spirit" (5:43) like two songs in one: the first 2:30 is instrumental, then a shift occurs and a vocal supporting tune plays out (once again using Frank and Nick to share the lead duties in tandem. Man do these two vocalists make a perfect match!) At 4:38 the song switches to yet another mellow motif for Frank to solo outro with only his keyboard and voice. Amazing finish! Definitely a top three song. (9.25/10)

7. "Funerals" (7:39) opens like another electrically-amped AMERICA song (especially the vocal melodies and stylings). The big switch into a completely new "Caribbean yacht" motif at 3:50 is pretty cool: allowing Frank and Marty a chance to show a little of their skills (on Hammond organ and nylon-string acoustic guitar, respectively). At 5:17 we morph back to a vocal section. Incredibly beautiful. Man! I wish there were more bands doing these kinds of group harmony vocals. Very nice synth and electric guitar play on the 1:15 outro. Nice sophistication of the overall construct. Great mix of vocals and awesome bass and guitar play. (13.75/15)

8. "Silently Raging" (4:11) another fairly straightforward song (about the concerns of CCT monitoring, Artificial Intelligence facial recognition and the degradation of human privacy) that benefits from group singing to include representation from the female sector in the forms of Lula Beggs and Sofi Dymans as well as some nice incidentals from all of the instrumentalists. (8.75/10)

9. "Instillers" (5:19) opens with some Peter Gabriel-like electric piano over which the boys sing collectively (though it sounds as if Nick might have more of the lead). Nice lower range soloing from the electric guitar during the fourth minute's instrumental section. As usual, really nice melodies and very solid sound and construction. Nick Beggs' sound in the fourth minute's instrumental section is to die for--and the key changed reprise of the chorus near the end is absolute ear candy. (9/10)

10. "A New Home" (4:25) a pretty standard lush pop song in the vein of 10CC or Alan Parsons Project with the delightful addition of Lula Beggs on background vocals while her father flourishes his ChapmanStick prowess within. Nice lap pedal steel work from Marty Townsend. (8.75/10)

11. "Life Is Like the Weather" (2:31) (I love the accompanying video as created for the band by Nick's daughter Willow.) (8.875/10)

Total Time 54:15

Comparisons (and valuations) to my all-time favorite NeoProg album, Equations of Meaning by British artist Tony Patterson are not only warranted but necessary. This is incredibly intimate and evocative music for me and definitely my favorite (and the best) album by Fish On Friday (that I've heard so far).

B+/4.5 stars; a near-masterpiece of Prog Pop music that most prog lovers will love--especially if you're into the lush soundscapes of the NeoProg world.

It's amazing how many beautiful, high quality albums sneak beneath the radar each and every year. This is one of them: an album of pure pop-prog ear candy in the same pool with ALAN PARSONS PROJECT and TONY PATTERSON's 2016 masterpiece, Equations of Meaning.

1. "Life in Towns" (5:45) a pensive song of pure ear candy. Even the spoken word passage at 3:30 is reinforced powerfully with the amped up multi-voice chorus right after. Great 12-string strumming reminiscent of AMERICA's "I Need You" and so many of the songs on Tony Patterson's Equations of Meaning. A top three song. (9.5/10)

2. "Murderous Highland Highway" (8:13) such amazing ear candy! Undeniable! I love the R&B "doo-wop" background vocals during the awesome instrumental passage from 3:40 to 5:30 and how it's helping to anchor the heavenly music during the album's best guitar solo. My favorite song on the album. (15/15)

3. "Black Rain" (4:53) a little too saccharine and with less heart-tugging hooks than the opening two songs. Still, Nick Beggs is such an underrated bass player. (8.75/10)

4. "Mad at the World" (4:57) an interesting pop song with 12-strings and APP-like lead vocals. Nice chord change hooks between the verses and the choruses and back. (8.875/10)

5. "Letting Go of You" (6:48) a gentle, country/folk-tinged guitar song featuring the vocals of Nick's daughter, Lula, in the lead department. It's decent--especially as it builds over time. Somehow it reminds me of Train's song "Calling All Angels." (13.125/15)

6. "Angel of Mercy" (4:48) another song that reminds me of the AMERICA-like songscapes created by TONY PATTERSON for his 2016 masterpiece, Equations of Meaning. It never quite reaches the same heights as Tony's work but it's nice. (8.875/10)

7. "We've Come Undone" (5:08) cool opening with "lonely piano" with robot-effected multi-voiced vocals. The music ramps up for the chorus sections like Steven Wilson is prone to do. Cool effect when the bass tempo doubles and Lula Beggs takes over the lead vocal in the third minute. (9/10)

8. "Morphine" (3:08) pretty strummed acoustic guitar, keyboard, and bass weave supported by hi-hat and rim taps leading up to another TONY PATTERSON/ALAN PARSONS PROJECT-like vocal. Also cool electric guitar floating around in the background. (9/10)

9. "We Choose to Be Happy" (3:25) A song whose group singing approach for all of its vocals conjures up the hippie pop bands of the 1960s like the Mamas And The Papas. It's okay--though the lyrics are a bit too sappy, even for me. (8.5/10)

10. "Trapped in Heaven" (4:04) very pretty music and composition weighted down by the same whole group singing approach as the previous song (though I do not hear the presence of a female in this choir). All chord changes, instrumental play and palette as well as solos show a very seasoned and confident composer. Almost a top three song for me. (9.25/10)

11. "Diamonds" (4:22) pensive mathematic synth sequence on repeat opens this, providing enough fabric for Frank and his piano to start their parts. Nice to hear Lula in the background vocal choir. The music amps up beautifully, emotionally, in the second verse, leading to some great synth solo work as well as some awesome Lula Beggs wordless vocalise. My final top three song. (9.5/10)

Total Time 55:31

A-/five stars; a minor masterpiece of prog pop music--one that many prog lovers will fall in love with--especially the NeoProg crowd.

Prog with pop sensibilities, or is it pop with prog sensibilities? Which ever the case, this is quite an accomplishment. And it's timing was impeccable, early in the covid shut down, a time of great darkness and depression for many. Here is a group of songs that for the most part are encouraging and positive, just what was needed! I have been wanting to comment on this for a while but haven't had time until now. This was, and remains, a go to disc when I want an emotional pick me up.

So, is it prog or not? It's here on the site, so I will go out on a limb say yes! Still, I guess it depends on your perspective. You can't deny that these songs have hooks that will create ear worms that are hard to get rid of ? very pop oriented. The vocals are pleasant and easy to listen to but nothing to extreme or challenging. The lyrics while not profoundly deep are enjoyable and compelling enough. But, this for the most part is not pop in the sense of top 40. These songs are musical journeys with changes in tempo, instrumentation, and good stretches of instrumental creativity, hence the more prog oriented side.

The first four tracks come bolting out of the gate like race horses determined to win the roses. Not that they are particularly fast, but they have intensity and creativity that is hard to resist, each one getting slightly faster and more intense than the one preceding it. It easy to see that this will be an engaging listen to follow. So some brief thoughts on the tracks:

Life in Towns: A thought provoking treatise on the disconnect of humanity towards one another, very pretty song, nice piano and guitar work with underlying synths that build up to a spoken word break mid way, and then grows in intensity to a big finish. The theme of this song seems all the more powerful given the isolation created by covid. (10/10 for being more prog oriented)

Murderous Highland Highway: This starts soft and builds up lyrically with instruments coming in gradually and then lifting it up as the tempo takes off. The beginning of this has a familiar 80's new wave folk edge that sounds familiar and welcome but you can't quite put your finger on it. This has nice central instrumental section with chorus in the background, breaks back into the lyrics and builds up to final guitar supported finish. Another big winner. (10/10 for being more prog oriented)

Black Rain: This is of course the title track, and it picks up the pace straight away. Breaks into lyrics. The opening piano comes off almost like an upbeat Elton John song from his early days, guitar quickly joins, and then comes the lead vocals with strong up front chorus singing in competition. Big tempo, nice guitar work, again, upbeat in nature. (9/10 for being more pop oriented)

Mad at the World: Starts with irregular synth notes, backwards, perhaps? Followed by piano and climbs into another mid tempo track. Lovely vocals, beautiful guitar, very pretty song. It would be hard to not like it! (9/10 for being more pop oriented)

Letting Go of You: Starts with pensive piano, soft vocal, then gives way to first female lead vocal. A nice duet which totally changes the direction of the previous four tracks. First half is a pretty straight forward ballad, but picks up in the second half with some brass, saxophone perhaps? Not a bad track, but not up to quality of the previous four. Does have a nice guitar finish for the last minute and a half. (7/10 definitely more on the pop side of the fence)

Angel of Mercy: Another big song that just draws you in emotionally, moderate pace but just strikes a chord that makes you feel good. So accessible and yet it has a lovely prog undercurrent that makes you wish it was even longer (10/10 so good!)

We've Come Undone: This one begins with a darker soundscape, synthesized vocal initially, and then continues the male & female duet style, but more upbeat, with the chorus over the top. Builds to a nice finish (8/10 not as pop this time)

Morphine: A short mostly instrumental track, with nice rhythm guitar over what sounds like slide guitar. Good atmospheric sound scape (9/10 proggy enough)

We Choose to be Happy: Okay, this one. Well. Pretty shamelessly pop. Yeah, can't really make a case for this one. This was a skip track for quite a while, but eventually just gave into it. Really, who doesn't want to be happy given the state of the world? (6/10 this is a prog site after all...)

Trapped in Heaven: A slow starter, but pleasant soundscape, ballad but builds up to big guitar finish. A much needed sharp contrast to the previous track as it is darker and subtly intense. Nice track. (8/10 more proggish again)

Diamonds: Closing song starts as a ballad, seems a bit anticlimactic, although very pretty, but half way in begins picking up intensity, building, building, okay, actually it's pretty great, and a nice finish. (10/10 just because...)

In general, the first half of the album is more creative, proggy, and stimulating, but all in all, I still enjoy playing the whole thing. Given the opening issue of whether it really is prog or at least prog oriented, each person has to decide for themselves. If you like extreme musical meanderings, intense vocals, and darker themes, this is definitely not for you. But if you enjoy a little prog-light occasionally, this is a pleasant cross over that is worth checking out. Guarantee that one or two of the choruses will go home with you.

Total score for me: 98/110 Good enough for 4 stars

I'm saddened by the minimal amount of attention for this wonderful band from Antwerpen, Belgium. Not only this latest album has remained unreviewed, but there are only five PA reviews in total, as many as they have released studio albums since their formation in 2009. Yeah, it's debatable if Fish On Friday is a progressive rock band in the first place, but does it really matter? Their music is melodic, very accessible and catchy pop-rock with a prog flavor and I enjoy them to a great deal. My acquaintance with their other albums is incomplete, but I daresay that on Black Rain the band is at their strongest.

The frontman Frank Van Boegart is responsibe of vocals, songwriting, keyboards and additional guitars. The main guitarist Marty Townsend seems to have a blues background (which isn't very audible here), while the most acknowledged member of the quartet is the British bass/Chapman stick player Nick Beggs who joined the line-up for the third album Godspeed (2014). Beggs has played in Kajagoogoo, Iona, The Mute Gods, Lifesigns plus bands of both Steve Hackett and Steven Wilson, so he's pretty known in modern prog circles. But it's definitely the singer- songwriter that deserves the biggest kudos. For starters, Frank is an excellent vocalist. His voice is warm and sensitive, comparable to Paddy McAloon (Prefab Sprout) and Nick Magnus (Steve Hackett, solo). Oh, nearly forgot to mention that Frank Van Boegart also produces the music and does it truly excellently. Without a hesitation I make a reference to Alan Parsons. The sound is clear, dynamic, organic and easy on the ears in a good way.

When I say that all these eleven songs are highly pleasant, I don't mean the album would be overtly mellow pop missing some kick and grab. On the contrary, it may be sharper than the earlier albums. Sonically it's not difficult at all to consider it as Crossover Prog. The songs do not stretch the compositional structure very radically, but nor they fall into the trap of refrain-chorus-refrain-chorus-bridge-chorus. 'Murderous Highland Highway' is the longest at eight minutes without notably sticking out as a prog highlight in my reception, simply because other songs are mostly equally successful. The title track is a good example of the effective, positive catchiness in this band's music. The female & male background vocals throughout the album work nicely, and the special guest Lula Beggs appears more upfront on some songs such as the ballad 'Letting Go of You', where one also hears soprano sax and clarinet of Theo Travis (Soft Machine, King Crimson, The Tangent, Steven Wilson,...). The closing piece 'Diamonds' is nearly a duet with Lula.

By looking at the few previous reviews for Fish On Friday here, I guess the most easily spotted shortcoming could be worded as "more of the same". Perhaps so, since they were very good right from the start and had found their own style. I notice that I enjoy this album more and more with each listening, so I feel justified to give a full rating. Instead of being "Essential: a masterpiece of progressive rock music" (obviously not, I know!), this is a wonderfully written, produced and performed album of prog-pop, and warmly recommended to all friends of melodic, modern Crossover Prog from Steve Hackett and Nick Magnus to It Bites and Lonely Robot -- especially if you also have a good time with sophisticated pop like Prefab Sprout and Tears For Fears.

More of the same from Fish On Friday - melodic Crossover Rock with definite Progressive leanings. The Nick Beggs influence is more obvious in this album, but that's no bad thing. These guys really know how to write a good tune, and their arrangements are very complex at times.

The vocals were always a bit understated on the earlier a;bums, but here they've enlisted the assistance of several singers to broaden their vocal sound. It really works well. The title track has "call and answer" vocals between male and female vocalists and it really works well.

The degree of musicianship shown here is excellent. The material is solid and shows development for their last release. I have all four of their albums, and am looking forward to their next! A solid 3.5 stars.

Fish on Friday might have totally passed me by if it wasn't for the coincidence of me looking for new bands to purchase soon and a timely review someone posted somewhere (PA? Amazon?) of this album. The review sounded so good and a quick sample of the music told me that I would likely like it. And I did! Do!

The label "crossover" is one that steers me away because I imagine that it means it's a pop or rock band with occasional tendencies to be a little more musically intellectual. I tell myself that I want something more challenging, which makes no sense as many of my favourite albums are crossover, or rock albums with just some progressive tendencies like Rush, Saga or Deep Purple. I also like some pop prog like Alan Parsons Project, The Moody Blues, and Supertramp. So, surprise, surprise, this here is a crossover prog album that I quite like.

From the first listen, I was already of the opinion that this was like "Learning to Fly / Momentary Lapse of Reason / On the Turning Away" Pink Floyd or perhaps eighties Moody Blues. There are these beautiful vocal melodies and harmonies and mature, adult lyrics about life, love, and human relations and human experience. I'm guessing "Tick- Tock" is a song about someone with Alzheimer's disease because the chorus goes "You don't remember" and the lyrics are about someone who forgets everything. For me, much of what is so appealing about the album are the vocal melodies and harmonies.

The music features a lot of piano and acoustic guitar, but also synthesizer and electric guitar. The guitar can get a bit heavy on the rock side but never in a hard rock or metal way. It just adds some nuance of fullness and energy to the music in places. The most successful moments are when the music eases down and gives us simple percussion and bass along with piano and acoustic guitar or a simple lead electric. There are places where the music picks up tempo and volume and it still sounds great; however, I found that listening on my iPhone, these more energized moments don't sound as clear. It's as though the sound becomes a big warm fug, the drums muted a bit and the vocals surrounded by other instruments. The CD sounded much better on my car stereo.

Overall, the general sound of the album is mature contemporary pop rock but with change ups in the songs so that you can never be sure when a song is going to suddenly slow down and ease back or going to pick up in energy. "Sanctuary", for example, begins quietly and then builds with some synthesizer and female vocals, and then rocks out for a stretch before dropping back to a more eased back approach. It goes acoustic and laid back before returning to the charged pop rock sound with the electric guitar and female vocals. The title track also goes through some changes, demonstrating the band's ability to stretch beyond the borders of the standard adult contemporary pop song. In short, Fish on Friday seamlessly blend a simple pop rock approach with the daring spirit of prog. Crossover prog indeed!

The songs to have caught my attention and to have received the most replays are "Tick-Tock", a simple but beautiful song; "Don't Love Me to Death", which adds some different components to the song to go beyond average; and the pretty and sweet ode to a dear friend and family member, "My Dog". It's a short but cute track. The rest of the album includes moments of interest in every song, including beautiful instrumental parts, more catchy melodies and soul-soothing harmonies, and even some flute and sax solos. Not every song captivates me from start to finish but each song has something I like, some more than others.

If you like eighties, post-Waters Floyd or eighties Moody Blues but recorded with a modern sound and approach, then I suggest checking out the album. I played it for my family in the car the other day and my kids and wife were asking about who we were listening to. Of my big batch of new purchases, this stands out as one of the preferred listening experiences so far. Maybe not essential, but certainly a very good album worth having.

I am guilty for not having picked up on this Belgian band earlier, I guess being a Thomas makes me some kind of biblical sceptic, doubting all the time! Fish on Friday maybe a perfect name for a Christian rock band but that was not what coloured my decision to delve into their craft and make me hesitate. It was ultimately the numerous positive reviews as well as the clincher, my recent infatuation with Nick Beggs' bass and stick wizardry. This master bass man was only a guest on the preceding release 'Airborne' (which I will now hunt down quickly) and is a full- time component on this studio recording. So let it be written: this is a fabulously entertaining recording with immense melodies, scintillating pace and endless instrumental brilliance. Imagine a huge dash of Supertramp (prog and pop sensibilities), Floydian propellant moods and a definite mid-period Genesis flair, sewn with unending details that keep the pace exciting and unexpected. There is also a smoothness that one could associate with prime Roxy Music, especially when the sax kicks in. Brainchild of keyboardists William Beckers and Frank van Bogaert (who also supplies the soft-edged vocals that will remind one of a certain Dave Gilmour), the blessed crew is fleshed out by ace guitarist Marty Townsend, steady drummer Marcus Weymaere, sax/flute icon Theo Travis (Fripp, Wilson, the Tangent) and of course, the solid sonic undertow of Mr Beggs.

The captivating title track sets the prog standards aloft with an epic 10 minute + swoop, illuminating a well-forged path of mood, atmosphere and stylish magnificence. The saintly pace is bold and confident, piano twinkling like liquid gold, haunting mellotron backdrop and 'godly' vocal work, both lead and harmony that may remind of vintage Barclay James Harvest. Marcus Weymaere really riffles like some madman on his thumping kit, while Townsend adorns some marvelous little licks on the guitar. A simply divine first communion of the finest order, wailing mellotron notwithstanding.

'Just a Nightmare' sources darker themes, piano, organ and synths in the lead, carving out a suave vocal that enthuses right from the get go. Nick Beggs' rumble underpins a brisk stride that embellishes a lovely main melody, dreamy and hopeful. Theo Travis introduces a sensational sax break that inspires and cajoles, remindful of Andy Mackay's passionate style.

Romanticist inspiration continues on 'She Colours the Rainbow', a lighter mood that remains firmly piano driven, pushed along by swirling keyboard work and a gentler swoon. A short ballad that is both heartfelt and fragile. Very pretty indeed.

Having been banished into a such a gentle space, 'Callin' Planet Home' revs up the rockets somewhat, the electric guitar taking up the challenge as it curls around a rather insistent chorus, infused by Travis' devilish flute medley, a churning organ and a smooth as silk rhythmic foundation. Massed choir voices relay a sense of density and majesty. Townsend's languid slide guitar break winks at Dave Floyd, so one can certainly appreciate the suave intent.

'Ghost Song' is another proggy high point, a slow cooker that nods towards the classic Pink Floyd sound, what with the smoky lead voice and seductive backing vocal crescendos. Theo Travis adds his usual amazing touch with some inspired wind instrumental savvy. Another highly addictive melody.

The lightweight but compelling 'Radio' has a humorous radio intro and a punchy discourse, adding more sweeping choir work and lavish keyboards and offering a magical melodic ride not unlike recent work by Nick Magnus, Patterson-Eyre and such. The endless vocal labyrinth is truly phenomenal and addictive. Yes, it poppier material but very enticing indeed.

The persuasive 'Sanctuary' is another extended extravaganza that will immediately remind some fans of the more prog elements of Alan Parsons Project, the vocal department being very adept at multiple surges and drilling the chorus into eternity and armed with a heavier guitar-led crescendo, elevating the piece to lofty heights.

The obligatory sweet love ballad 'Stay' definitely stays in your mind once seduced by the shockingly striking choral work. A breathtaking and starry-eyed piece of heartfelt beauty that will pull at the heartstrings in that most convincing way possible. Yes, simple can be so lovely! Immediately marshaled to my daily 'hit' list, as I could listen to this gem on and on and on. The guitar break rekindles fond memories of Ian Bairnson's finest solos, where verve and exhilaration combine to dazzle.

The highly impulsive 'Don't Love Me to Death' is lyrically intriguing, a much rockier disposition with rambling guitar rampage, swooning keyboards and a driving beat, the voices adding incredible depth to the mix ('You don't give me room to breathe') and a slippery synth solo to seal the deal.

Quirky and quite progressively tinged 'Tick Tock' is strangely remindful of Dream Academy, a short-lived synth-pop group of the 80s that had a brief moment in the spotlight, especially in view of the massed voices and the intricate keyboard cascades that overwhelm and conquer. The razor sharp guitar exchange is quite welcome, together with the ringing orchestral backdrops.

The very short, acoustic and frivolous 'My Dog' adds a little personality and a bark or two. 'Cheesy lyrics' indeed! This is a killer album that caught me quite unaware but better late than never. Shame on me for letting this epic scroll go by, mea culpa, mea culpa, mea maxima culpa!

4.5 divinity hustles