SYD ARTHUR

SYD ARTHUR create some of the most uplifting music that I have ever heard. They formed back in 2003 and eventually by 2006 they started to release some EPs, building to this the debut from 2012. They have always had aspirations to become successful musically, in other words, sell a lot of albums, but not at the cost of quality. They released three singles off of this album, and their most recent record "Apricity" unfortunately goes too far down that commercial road for my tastes. The album in between this one and "Apricity" called "Sound Mirror" is my favourite from them and an absolute classic in my world.

If your an audio-head you will love this band. Talk about attention to detail. This album sounds amazing. A four piece with Raven Bush's violin and mandolin adding some nice flavours. The lyrics are strong and the vocals so pure sounding. In the liner notes they say "Thanks to Canterbury and all that have been there along the way..." The music is light psychedelia mixed with a soft jazz/canterbury flavour. As I said before, this album just makes me feel good. Ten songs over 40 minutes and I have a top three.

The opener is good but far from a favourite as that would start with that second tune "Edge Of The Earth" which is a determined sounding piece opening with deranged mandolin before scratchy violin arrives then our main theme with vocals. So good! Some energy on this one. "Dorothy" could go in the KANSAS direction but thankfully no. Man this is a chilled track. Kind of an old school jazz flavour with the vocals taking their time along with the music. Such a feel good sound before 2 minutes as it rises some in passion.

The closer "Paradise Lost" rounds out my top three and it's the longest piece by far at almost 8 1/2 minutes. I was not expecting the power early on with this one. The guitar cries out and more before settling right down. It picks up with violin leading, then some vocal melodies. This is all so good. Oh, more of that power after 2 minutes including some aggressive violin and guitar expressions. Nice. This one is a ride. A calm at 3 1/2 minutes, lots of atmosphere. It starts to build a little with acoustic guitar before 5 minutes, then vocals for the first time. It will be after 6 1/2 minutes before they start to amp it up some, and the tempo picks up as well.

While the music here is great, that album cover art is terrible. I honestly can't believe that is what they went with. They should lose a star for that(lol).

This is the first Syd Arthur album I've written about, but you could probably apply what I say to the rest of their albums as well. In my mind, they get a "5" for originality which is a very rare thing in prog these days, where even the highly rated albums on this site have people saying "hey that's a great album but it's just not quite [you fill in the rest]..." The only thing stopping me from saying it's a 4.5 would be the inconsistency. The albums are indeed short and some of the tracks are weaker than others. So, plug this record in and start with the songs "Seraphim" and "Apricity". You won't be disappointed. A few reviewers are sinking into this "prog/not prog" debate which is a surprise to me, like, didn't we go through that whole debate with Kansas (poor Kansas). Anyway I give this and their other albums 4 stars, and I don't give a full 4 often.

I'm not sure how Syd Arthur came up with their name, but I suspect it comes down to honouring two of the UK's major originators of prog-oriented psychedelic music (or psych-oriented prog, depending on where you draw the line) - namely, Syd Barrett and Arthur Brown. Certainly, their Sound Mirror sounds like the sort of thing that Kingdom Come might have been produced if left to their own devices with 21st Century equipment and a stack of early Caravan albums. Released through the venerable Harvest label, Syd Arthur represent a fine continuation of that label's psych- prog tradition, as well as taking into account 40 years of musical innovation since that label's heyday.

3.5 stars. SYD ARTHUR is like comfort food to yours truly, their sound, especially the vocals just makes me feel good. So it's been a little frustrating listening to their latest because it's them, that sound I love, but man there are some blatant commercial songs on this one that have been bugging me from the first listen. So I did some research and found out that they brought in an outside Producer for the first time in Jason Falkner(JELLLYFISH) who's known as the pop maestro around the music world. Yes the band have decided to go in a more commercial direction but man there are some good tunes on here which leaves me feeling compromised. In the end I just can't give 4 stars but maybe that will change down the road. Their long time drummer has left, I'm not sure if it was because of the musical direction but they've added another Magill brother giving us three in the band plus violinist Raven Bush.

"Coal Mine" opens with sounds that pulse before we get this appealing guitar melody and more. A calm follows quickly with acoustic guitar before drums and vocals kick in. Off-kiltered beats and vocals lead the way but then that guitar melody returns briefly. Violin is in the background before 2 minutes but becomes more upfront before 2 1/2 minutes then the tempo picks up as the vocals continue. There's that guitar melody again around 3 1/2 minutes. Nice. Strings end it.

"Plane Crash In Kansas" has this interesting bass/ drum rhythm that's off beat you could say as the vocals join in, keys too. Love the chorus, it's such a feel good section with those distorted keys. "No Peace" is one that is too commercial in my opinion. So catchy with sweeping background sounds as the vocals join in. Very poppy. I do like the chorus, it's just hard not to groove to it you know? A brief violin solo before 3 1/2 minutes then he joins in. "Sun Rays" has plenty of beats and sounds as the vocals join in. I like how deep the sounds are before a minute. Catchy and uplifting.

"Into Eternity" is one of my favourites. Synths and piano create emotion for me as reserved vocals join in. It's so emotional when the sound kicks in before 1 1/2 minutes. Violin too. Synths and vocals only before 3 minutes then it rebuilds and ends without vocals. "Rebel Lands" has this determined rhythm as the vocals join in sounding more serious than normal. The chorus is good, another feel good passage that comes and goes. "Seraphim" is the proggiest tune on here I'd say. It sounds like mandolin, vocals, acoustic guitar and drums then it turns powerful before a minute as contrasts continue. I like the calm with distant sounding vocals that's almost haunting then it kicks back in. Some dramatic drums and sounds follow without vocals. A fairly powerful piece with some good ideas thrown in.

"Portal"is brighter than the previous tune and quite catchy with a guitar melody, a beat and keyboards throughout. Not a fan though. "Evolution" has a beat and more with laid back vocals that come and go. It's futuristic sounding. So much going on before 2 minutes, very unique sounding as well as the vocals continue. "Apricity" is another commercial sounding tune. It's uptempo and catchy with vocals. It settles after 1 1/2 minutes with piano and more then builds as the vocals return quickly. Not a fan though.

I will continue to treasure their previous two studio albums and wait with interest to see where they go with the next album. This just isn't what I was hoping for.

While I'm waiting for Syd Arthur's second album, I've decided to return to listen their brilliant and promising debut LP and I have to say that is a great pleasure for me to find again such an exquisite sound into the 10 tracks of this album.

Maybe there's not totally original compositions here. In fact, there are lots of 60's and early 70's inffluences, proggy psychedelic instrumental sections, some early Yes stuff and even drops of Canterbury sounds (specially on "Dorothy", "Night Speed Light" and "Promise Me") but Syd Arthur has their own particular style that includes the constant presence of violin and acid guitar riffs which provides the music of hypnotic and changing rhythms and textures.

If you are looking for all those sounds into just one album SA has to be in your colection. Into this album you'll find really great and sometimes complex compositions, such as "Promise Me" and "Truth Seeker"; melodic retro songs as "First Difference" and "Dorothy", and an acid fusion of styles (including some hard blues guitar riffs) such as in "Ode to the Summer" and "Moving World".

Definitively an album with no weaknesses that it'll be a pleasure to 70's rock and prog fans and for all those who are looking for a mixture of retro and new sounds... 4.0*

Guldbamsen has sent me at least two private messages encouraging me to check this band out, and both times I checked out some Youtube videos andboth times I felt like "meh" they are alright. David's passion for these guys on the site here though moved me to take the plunge with both studio albums. Damn! He was right again(hehe). I am so moved by this album i'm not even sure what to say about it. The guitar at times reminds me of later ANEKDOTEN and I love that sound, the bass is often fuzzed out big time and the other major plus is the vocals. This album makes me feel so good that it's simply perfect for me. These guys might be from Canterbury but the music certainly isn't Canterbury.

"Garden Of Time" opens with a cool little guitar melody then vocal melodies, drums and more take over. Man I love the sound of the guitar as it settles and the vocals join in. The chorus is awesome as well but man the guitar is very Swedish to my ears. More vocal melodies 2 1/2 minutes in followed by a killer instrumental section that is quite experimental. So good! A top three track. "Hometown Blues" opens with piano as a beat and more joins in then vocals. A catchy mid-paced tune with so much attention to detail. Violin around 2 minutes then it turns fuller again as contrasts continue. "Autograph" is another feel-good, mid- paced tune with vocals. "Anyone out there...anyone at all?" A nice instrumental section with piano and vocal melodies before 2 minutes. It's building until 2 1/2 minutes in when it calms right down.

"What's Your Secret" opens with violin and picked guitar as vocals join in. It picks up before a minute and contrasts continue with lots of violin in this one. "All And Everything" is catchy with vocals to start. Lots of fuzz when it turns fuller, love that guitar as well. "Forevermore" opens with intricate guitar and a light beat as reserved vocals join in. The chorus is fuller with some nice drum work. "Backwardstepping" features acoustic guitar and vocals as the violin comes and goes. A beautiful song. "Chariots" opens with what sounds like processed accordion then fuzz and some manipulated vocals follow. Distorted keys after 2 minutes when the vocals stop breifly. It blends into the only instrumental "Singularity" another top three tune for me. An ominous beginning then a powerful section kicks in before a minute. Check out the guitar, oh my! Kicking some ass here as we get fuzzed out bass as well. "Sink Hole" with guitar, drums and vocal melodies standing out early impresses. Then vocals and a fuller sound follows.

Right now this is the best album I have heard for 2014 but I have quite a few to get through before I decide that. Essential! Thanks Bamsen!

Since I saw some people compare this new band "Syd Arthur" with Caravan I had been very curious to hear it and so I have done for the last days. I could say immediately that this band sounds like no other prog band I have heard, so it could be worth checking it out. Though am I hesitant if it should be considered prog. Well, they are quite new thinking so why not!

They come from the South East of London and has released three singles and now two studio albums. "Sound mirror" from 2014 is their second one. It has an easy-foreseeable length and a notable cover picture of what I think is a huge concrete foundation. The line up is the vocalist and guitarist Liam Magill, the vilinist, mandolinist and keyboardist Raven Bush, the bassist and vocalist Joel Magill and the drummer and percussionist Fred Rother.

I was rather disappointed from the beginnign when I heard this sounded like some form of alternative rock or indie rock or something. I am not especially familiar with these genres but I have heard similar things at random occations on the radio or at small scenes at bars and I have felt uncomfortable about its squeaky exclamations. Well let's just say I am not into that modern stuff. With that said I could nevertheless say that this is the best of that genre I have heard!!

Syd Arthur (great name) plays very skillfully and it's easy to hear the acoustic feeling, the variety of instruments and inspiration. "Sound Mirror" contains very melodic music and they are not bombastic. That is I guess the similarity people have found with this band and the band I like. The half of these songs are good or more than good and the rest are less interesting. "Garden of time" (7/10) is a pleasant starter which contains both things to love and things I can't help doubt in. The album's best track though is the instrumental "Singularity" which also must be considered the most progressive track here(8/10). That is the only track I don't hesitate to listen to at all. But through a majority of the songs I hear a lot of musicality such as on "Autograph"(6/10) a nice little pop song and "Backwardstepping" and "Chariots"(both 6/10). Least interesting are the three tracks 4-6 in the middle which I have very hard to appreciate(4/10). There it's just not my musical world I guess.

My rating ends at 2.75 which becomes a three star rating. It is good and well performed music which also is quite unique. But it doesn't appeal to me as much as other prog music uses to.

'Songs you most likely are going to sing along to at some point'

This one could very well turn out to be AOTY for me. It's been a fun ride, even if I had quite the preservations coming into this thing, as I first laid eyes on the track listing: 10 songs and less than 35 minutes of music!?!??! Wtf! Even the debut had a long cut clocking in at about 8 minutes - feeling like a mini epic with big sweeps of violin and guitar. On Sound Mirror everything is concise and to the point, no time for riff raff or extended wild soloing, and I'll certainly be the first to admit it. I felt a little disappointed with this new development, because like most fans of rock that pushes the envelope (sometimes just a wee bit), I'm always looking for that ever so delightful and orgiastic long tune that sets my blood on fire and transforms my copious corpus into a quivering pool of jello.

Yet when I then got my hands on an actual release - unpacked the bugger like a mental person and frantically placed it in my stereo, every doubt and preconceived notion flew out my ear and left for the ceiling. I instantly loved the album! The tunes were shorter, but what they perhaps lacked in length - they conquered back in the band's violinist Raven Bush and her newly found love of the piano, mandolin and various keyboards - making Sound Mirror feel altogether more refined and matured. Now I personally tend to go for the young teen angst zeitgeist in rock music, but not to worry. Even if the band's sound palette seems to have grown in size, there's still a strong presence of the youthful nonchalance and carefree ways the debut was soaked in.

What Syd Arthur mostly has got going for them is something very rare inside modern PA releases. At least according to my tastes that is. I often find the vocals in modern prog horrific - with 90% of the lot sounding like tired versions of Andy Latimer. On here you get a warm and rather nasal charm to the vocals. You cannot help but feel joy and the energy of youth, whenever this guy opens his mouth. Liam Magill is a wonderful singer, and the things he does with the guitar ain't too shabby either, although he never really goes all out. He is first and foremost a terrific rhythm guitarist. The combination of his guitar and those brilliant vocals works like a real charm. Especially on a track like Chariots does this shine through...in spades! It's everywhere though.

Getting down to brass tax here! How does it sound? Any reference points? Well, one could be as glib as to call Sound Mirror the soul of a gifted singer songwriter coming together with the chops and gusto of a psychedelic folk rock group with a strong Canterbury odour. On the debut I heard some serious Caravan touches coming through in Raven's violin work, often reminding me of 'For Girls who grow plump in the Night'. With this new one the Caravan touch is still there, although coming through in other instruments. I am constantly reminded of the melodic work of Dave Sinclair, no matter what keyboard is afoot. It's by no means copycatting behaviour we're talking about, but merely a whiff of something familiar dressed up in an altogether different gown. In addition to the references, you'll find distinct sections where the group suddenly feels like a second cousin to Grizzly Bear and their brand of psychedelic folk rock.

The peaks on this baby are far too many to count, but there's of course the titillating riffs of Chariots, the bluesy expression of the opener Garden Of Dreams, the naive and always impeccably played 60s inspired rhythm section, the staying power of Forevermore with it's memorable chorus that'll be playing the rest of your evening from the insides of your skull - or perhaps the melancholy and slightly circus-like feel of the keys adorning the closer Sink Hole, - fact of the matter is wherever you look, there's magnificence. The grandeur of this release though doesn't exactly explode in your face upon first listen, but rather comes crawling through the window when you're not looking. It's a ninja thing.

The only negative thing this album is facing with the prog crowd is the fact that Liam sings so incredibly well and smooth, that there are bound to be folks writing him and the rest of his companeros off as a psychedelic Indie rock group. Maybe that's true - I certainly wouldn't call Syd Arthur a prog band, but then again I feel comfortable keeping this album right next to my Caravan and Hatfield and the North albums too. There's an effortlessness and breezy nature to the way they play making all technical sparks and turn overs feel natural and unforced. The 'Canterbury' sound may well be modern and hard to pick out among the straightforwardness of the songs, but the feel of things is still there.

In the end this is merely a collection of incredibly well performed songs. No bs just music with heart. 4.5 stars.

This is prog? The umbrella of all that is considered prog seems to be growing exponentially. I'm not sure that is a good thing---especially when indie pop and psych pop bands seem to be taking over while postmodern chamber or classical music is being purposely ignored and/or expressly excluded. I imagine, then that it should only be a short time before some of my other favorite until-now non-prog groups are welcomed into the PA scene. Imagine bands like The Cure, Souxsie and The Banshees, doves, Tears for Fears, Bruce Cockburn, Jane Siberry, k.d. lang, Tame Impala, Grizzly Bears, ABC, The Art of Noise, Annette Peacock, Alanis Morrissette, Pearl Jam, Cowboy Junkies, Portishead, Massive Attack, The Style Council/Paul Weller, The Buggles, U2, Gene Loves Jezebel, Jesus and Mary Chain, It's Immaterial, Aztec Camera, Simple Minds, The Blow Monkeys, Simply Red, The Isley Brothers, Earth, Wind & Fire, Love and Money, Love and Rockets, The The, Pete Shelley, Telepomusick, Air, Van Morrison, West Indian Girl, Perplexa, Whitesnake, Bon Jovi, XTC, Sting, The Police, Stereolab, Sade, Swing Out Sister, Annie Lennox, Seal, Cocteau Twins, Lush, Robin Guthrie, Violet Indiana, Mono, Olive, The Re-Flex, Psychedlic Furs, Robert Palmer, Pink Fairies, John Martyn, Peter Murphy, Pentatonix, Peter Frampton, The Payolas, The Ramones, Paramore, Evanescence, P.M. Dawn, OMD, Opus III, The Mercury Program, Marconi Union, M & M (Martha & The Muffins), League of Gentlemen, Luther Vandross, Stevie Wonder, Love and Rockets, Icehouse, Linkin Park, Kitchens of Distinction, John Serrie, Jonathon Goldman, Ivy, Hans Zimmer, Grand Funk, Gino Vanelli, Elton John, George Michael, Funin, Frankie Goes to Hollywood, The Flaming Lips, Everything But The Girl, The Fixx, Emilie Autumn, The Dream Academy, Dead Can Dance, David Darling, Crosby, Stills & Nash (& Young), Neil Young, Joni Mitchell, Carole King, Melanie, Carly Simon, The Association, Coldplay, The Clientele, Clint Mansell, Clannad, The Cars, Bruce Springsteen, Boards of Canada, Berlin, Blue Öyster Cult, Astrud Gilberto, Sergio Mendez, Joabim, Astor Piazzolo, Art Lindsay, Animal Collective, America, Alan Stivell, Al Stewart, Kosmos, Ry Cooder, and so many, many others being included in your beloved Progressive Rock Archives! Prog Rock takes over the world (or at least the quirkier side of pop music scene)! That being said, I LOVE this album. The first eight of ten offerings are fully fantastic ear candy worming their way into my brain. I love the voice, the lyrics, the recording treatment/effects used on all the instruments, the b vox, the presence and effect of the mandolin and violin, and the upbeat psych-pop, drugged-up, almost-Canterburian feel to the music. I have no favorites; I perk up at the sound of any of the first eight songs when they come across my ears, they're all five star efforts in my humble opinion and I can't seem to tire of any of them. I truly hope these guys get huge--at least get some of the recognition and income I feel they deserve.

A five star album rated down for non-proggy-ness.

It's funny, because I was extremely annoyed by Syd Arthur's performance opening for Yes in Denver this year. The sound was mixed horribly, and sounded distorted almost beyond the point of recognition.

Yet the band had a presence that intrigued me, and I could detect some interesting melodies and rhythms underneath all of the distortion. I decided to go down to the concession stand and buy a copy of the album.

Am I ever glad I did! "Sound Mirror" is a delicious album of Psychedelic Rock / Canterbury Prog that satisfies on every level.

The sonic textures achieved here are splendid, creating a mysterious sonic space where instruments blend into each other, vocals echo off into the darkness, and one feels as if the 70's have arrived again in the best possible way.

I heard people compare Syd Arthur to Caravan, but I must admit, this is what I always hoped Caravan would sound like. Liam, the singer and guitarist, purrs like the lower range of Grace Slick. The arrangements remind one of Hatfield and the North, or Soft Machine's Third album. Lots of jazz melodies coupled with psychedelic noise bits and jamming. My favorite song is "Autograph," which has a melody I cannot get out of my head!

Other reviewers have remarked on the similarity of the songs in terms of chord structure and melody. I would instead say that the songs flow together perfectly. I can listen to this hypnotic album again and again, and I am usually a listener who gets bored easily.

One of my favorite elements of progressive rock music is poetic, spiritual lyrics. Syd Arthur delivers this for me in a way no band has done for years. Their abstract, impressionistic lyrics don't reveal easily what they are about, and yet you can get the overall sense of spiritual longing and exploration.

"Syd Arthur" after all, is a pun on "Siddhartha."

Syd Arthur deserved far better sound engineering at the Yes concert, but I am hoping that they will be headlining someday, and that I might see them again. They are a marvelous band and this album is something truly special!