FREEDOM TO GLIDE

FREEDOM TO GLIDE are a duo out of the UK who continue to also be part of a PINK FLOYD cover band. This is their debut "Rain" from 2013, a concept album about a British soldier from WWI. We get basically a guitarist/singer plus a keyboardist. And who needs a drummer when you can use fake drums right? This is a sad album, depressing almost. Very PINK FLOYD-like to a fault. I mean the PF references are everywhere. The guitar especially.

Honestly it was hard to play this a second time, let alone a few times. Over 63 minutes and 15 songs. For me this subject is something I have no interest in which doesn't help of course, but for those who are interested in war you have to go with PINK FLOYD's back to back "The Wall" and "The Final Cut" for original music that is much more meaningful. Especially "The Final Cut" dealing with the aftermath of war. Ask Roger Waters how war affected his very existence, growing up without a father.

So for me this is not entertainment at all. I will not be checking out anything further from this band. If you like AIRBAG you might want to at least check this band out. It really comes across as a DIY project. A low 3 stars.

Freedom To Glide is a musical duo that consists of Andy Nixon (vocals, guitars, bass and keyboards) and Pete Riley (piano, synthesizers and organ), this is their fourth effort, and my first musical encounter with this duo. Band info: "Our fourth album release The Chronicle Of Stolen Souls has actually replaced this year's intended album release due to the unfolding world events of 2022, not least the war in Ukraine. The current political language is reminiscent of what we thought to be a bygone era of power politics and serves as a frightening reminder of the worst situations of the last century. We can only hope for peace, not a peace that is forced upon the loser but a peace without victory."

What a wonderful, pretty laidback music, the nine songs (between 2 and 7 minutes) often deliver dreamy climates and slow rhythms, the focus is on Andy Nixon his intense vocals, tender and often with a melancholical undertone, embellished with moving guitar soli.

My highlights.

Stolen Souls : The first part contains an atmospheric climate with dreamy vocals and piano, then a slow rhythm., halfway culminating in a sensitive electric guitar solo with howling runs.

The War Cannot Be Won : This track has been built-up beautifully, from dreamy to a slow rhtyhm, with tender vocals, then a break with delicate Mellotron cello and twanging acoustic guitar, bass runs and a warm acoustic guitar solo, finally another moving guitar solo (Gilmour inspired), wow.

Peace Without Victory 06:52 : This is my absolute highlight, it starts dreamy with piano and acoustic guitar, tender vocals, halfway breathtaking interplay between Mellotron violins, piano and drums, goose bumps, then an intense electric guitar solo, and finally again that wonderful interplay between Mellotron violins, piano and drums, I love it.

The Chronicle Of Stolen Souls (Epilogue) : The titletrack opens with a melancholical violin sound and bombastic orchestrations, then tender piano and vocals join, followed by a howling electric guitar solo in slow rhythm. The second part features a dreamy climate with tender piano, and a melancholical undertone.

Highly recomenmded!

FREEDOM TO GLIDE known in 2019 with an album where the piano ballads caused me, reminding me of the flights of QUEEN; the rest on PINK FLOYD from the 'Animals' era, a bit logical when you know that they were part of a tribute band to the above-named group; and here I am for their last.

'The Chronicle of Stolen Souls (prologue)' for the ballad intro, like a warm-up lap on a racing circuit. 'Stolen Souls' on a meanstream sound between melodic rock, soft and AOR; it's soft, weighted and controlled. 'Seize the Day' on a latent tune, slow rising melody; beautiful guitar solo but I already find reminiscences too redundant, doing floyd is good but finding a clean sound would be better. 'The War Cannot Be Won' basic acoustic guitar riff, on PINK FLOYD. After this notion, it allows to navigate on a concept of flamingos a bit like 'The Final Cut' precisely; acoustic solo and title saved a little by the second electric solo. 'Peace Without Victory' continues on a beautiful melody with violin which actually flirts with excessive spleen; dreamlike crescendo, bells, everything is staged to give goosebumps. 'Silent Land' soft bluesy tune, with the drums that go with it; time seems to tick away tirelessly and once again it's the limpid solo guitar that holds the title; very hovering finish in decrescendo, trademark of the duo. 'Left Side of the Brain' with an intro in line, its languorous which wants to be mono-melodic; simple, good as background music in fact. 'The Chronicle of Stolen Souls (epilogue)' and the finale with a grandiloquent intro, see there a beautiful sensitive, emotional intro, stuffed with spleen notes, ah this violin!, just enough to make you melt without restraint; the crystalline piano sends me back for a while to the classic intros of BARCLAY JAMES HARVEST, a stronger guitar solo, choirs and here is the second great title, too bad there are not more of them. 'This Is How It End' for the final bis melodic rock pop title with a break incursion on the atmospheres of the Floyds with siren and plane at ground level; the evaporating piano confirming the factory sound of F2G.

F2G has released a beautiful album, in a melodic prog register. The problem is the wait after the first superior in all respects; the problem is the disparity between good titles and some very good ones that end up consuming this disparity.

To find uncommon niche on today's musical scene is quite a challenge, but in the case of FREEDOM TO GLIDE it has been successfully accomplished. The conceptual idea became a basis and source of inspiration for collaborative partnership of Andy Nixon and Pete Riley who honor their musical roots, but have individual characteristics and principles. As a starting point, I would cite Pink Floyd legacy, albeit this evident reference fail to paint a full picture. With their particular approach, the UK project defies the giants, churning out a high-standard conceptual message that stands up to be equal with some of the best works in the prog history. Moving far away from the legion of dull copyists and using very special lyrics, F2g pushes the boundaries of framework to set apart from other bands doing predictable things within the genre. Indeed, these gentlemen have managed to create a sonical palette full of colour and meaning. The debut full-length album 'Rain' was released in 2013 to create a genuine wave of enthusiasm and interest from the press and the demanding fans. Since that went beyond the duo's own expectations, the musicians have decided to raise their game to further level continuing to establish the singular material. Sticking to the musical formula established three years back, F2g unleashed the second CD 'Fall' (2016) which also garnered acclaim and support from the public and reviewers. The great news is that now we can add CD 'Seed' as another milestone (a final part of the anti-war trilogy). In itself, a landmark effort - logically and musically. As might to be expected, the third album holds plenty of instantly-recognizable parameters we have come to expect from this creative tandem. F2g stay faithful to their exceptional course, utilizing very dramatic storyline. And again, there's a hypnotizing flow of soundscapes and mellow textures complemented by thought'provoking lyrics. The entire work has uniquely imaginative feel, ensured by exquisite guitars and textured keyboard layers right where they should be. All instrumental parts are perfectly arranged and orchestrated to develop the mood for each chapter of the set. Whilst the leisurely pace is retained, the dramatic tension has a deep impact to hit your senses. The rhythmic backdrop is understated for good measure. The emotional vocal lines pose the display of ensemble musicianship. And everything serves to provide the essence that Freedom To Glide are striving for. Since the music flows smoothly, it's not very easy to pick out a concrete favorite track. Having said that, I did find 'The Space Between The Lines' being a pure gem which should be placed in playlist under the sign of 'goosebumps'. It moves through some changes, maintaining a general atmosphere whist the mood changes from subtle to monumental. The slow build features a delicate piano playing and calm vocals to propel the song a bit forward, then the supreme guitar enriches the design soon before giving way to mighty orchestrated segment. Trite to say so, but this magus opus does contain the main ingredients of what F2g has to offer. Both lyrically and musically, it's absolutely terrific, stirring the inner spirit and human emotions. So... if you are an uninitiated soul looking for a good introduction to one of the most unusual projects on the modern prog-scene, then look no further. Anyway, I leave this item to decipher - speculatively and emotionally.

This album is innocuous and listenable enough but there's nothing here drawing me back. The music is too simplistic and too computer-generated (with agonizingly poor computer sound generations of all strings and synths). M. Nixon is a good guitarist, okay vocalist (VERY similar to ROINE STOLT), fair songwriter in the PINK FLOYD vein, but many of his compositions lack sophistication and high production standards.

1. "Fall" (1:55) nice intro to the album--though it's dynamic extremes give us a misleading feel for the style and pace to follow. (9/10)

2. "Silent Code" (7:19) easily the best song on the album with the best instrumental arrangements and sound engineering plus an excellent, unusual jazzy guitar solo at the end. (9/10)

3. "Names In The Stone" (4:54) sounds EXACLY like a ROINE STOLT composition. (8/10)

4. "Toll" (3:02) nice mostly instrumental song despite poor sound engineering. (8/10)

5. "Playing God" (5:04) a very good song that sounds/feels oddly familiar. NOSOUND? MYSTERY? PT? NINE STONES CLOSE? (9/10)

6. "Exit Wound" (5:38) a nearly-unlistenable opening section is saved by a wonderful middle and end section. (8/10)

7. "Enigma" (8:02) a pleasant piano-based song that sounds a lot like ROINE STOLT--even the Gilmour-like guitar solos. (8/10)

8. "The Middle Game" (7:45) another pleasurable near-prog, mostly Pink Floyd-ish song that proves forgettable. This music is so close to that of TONY PATTERSON's wonderful work on his 2016 release, Equations of Meaning, only lacking something. (Nick Magnus?) (8/10)

9. "Trough Of War" (4:06) an irritable guitar sound opening turns my mood against this one. Unfortunately, nothing much happens to change my mind. (6/10)

10. "Solace" (1:04) pleasant, creepy instrumental interlude. (8/10)

11. "Sleep Under The Flag" (3:14) pretentious poetry reading that you or I could do on our computer. 'Strings' arrangement at the end are the only redeeming factor. (7/10)

12. "Another Same" (3:32) catchy acoustic guitar piece that could fit on any indie rock album. (8/10)

13. "October" (5:43) pure Roger Waters drivel. (7/10)

14. "Exit Wound (Let It Go...)" (5:40) a remake of song #6. I just can't get over that opening section. (8/10) (bonus track)

3.5 to four star record; try it for yourself.

Wonderful FREEDOM TO GLIDE have come up with a second full-length release that neatly follows on from the critically-acclaimed CD 'Rain'. Totaling over 61 minutes of material, new record is comprised of 13 songs with a plethora of suggestive effects and soundscapes. It gives a truly kaleidoscopic gamut of the F2g's ethos to showcase the ideal combination between authentic Floyd-ism and intelligent rock music, resulting in holistic approach. From the evidence of 'Fall', Pete Riley and Andy Nixon continue to use 'anti-war concept' as the lyrical backbone, and I'm of admiration for this kind of enormous undertaking. The British duo makes people believe that progressive genre could actually give something special! Very few modern groups have managed to do such a feat. OK, let's order... The title track 'Fall' begins with a restrained piano and calm vocal, creating a vibe of dramatic tension. It serves like a good introduction to the enthralling album. Next up, 'Silent Code'. F2g lead us in their vision of a WWII soldier who's returning home from captivity. This composition is dedicated to Andy's grandfather. Musical entourage features a transparent beauty of guitar playing whilst the polished keyboards glide on the background. By surprise, the outro brings a memorabilia of PF legacy ('High Hopes'). Retaining the similar pace, 'Names In The Stone' follows then. Arguably, things get soaring on the fourth tune 'Toll', when awesome guitar licks take the center stage. Coupled with the piano flourishes, graceful harmonies provide an extra dimension for the final section. The next chapter 'Playing God' has the unobtrusive sonic palette. A much more sophisticated piece, 'Exit Wound' comes to incorporate the different characteristics. This serving has experimental nature, eclectic and innovative. The text is about post traumatic stress disorder in the present days... Although there are plenty of excellent themes and melodies on entire album, the composition that stands out for me is superlative 'Enigma' which gradually evolves from a gentle keyboard-line accompanied by heartfelt singing to the captivating musical attraction. Andy Nixon decorates this venture with a mind-blowing guitar performance - it would make even David Gilmour jealous. Successive 'The Middle Game' holds the interest. Compared to what we have heard thus far, 'Trough of War' is something peculiar. It bursts out in livelier tempo. And I think of The Beatles once in a while. Textually, the weapon dealers are accused here. Intended to throw off the intensity of tempo, amazing 'Solace' has a slow pitch which in turn gives way to elegy, 'Sleep Under The Flag'. This time, Pete Riley comes on proscenium, narrating the story about the repatriation of a dead soldier. Again, the keyboard figures are simply impeccable. Appropriated to make the transitions of mood and pace, 'Another Same" resembles a couple of smash-hits together ('More Than Words' by Extreme and 'Wild World' from Mr.Big). But maybe it's just the splash of surrealism in my mind?.. At the core of final track 'October' is a tight mixture of catchy vocals, melodic guitar work, the sustained keyboard chords and driving rhythm section. In proper place, the melodic route transforms to soft pattern, before gradually subsiding and fades away. Now you feel as though you have spent the past hour traveling on a time machine. All in all, immersive, remarkable CD 'Fall' is a high contender for ALBUM OF THE YEAR!..

FREEDOM TO GLIDE is the musical endeavor between Andy Nixon (lead guitar, acoustic guitar, vocals, bass, drums) and Pete Riley (keys, piano, vocals, sampling, programming). Their collaborative affair started in a Pink Floyd tribute band Dark Side Of The Wall. It'd be an indication of F2g's main influence. Emergent duo rapidly caught the attention of fans, media and prog-radio DJ's. Some material on mini-album 'The Wait' is quite close to mighty PF, though in general Freedom To Glide are imposing their own stamp. There are various references to be found here. They swirl from balladic sections to mid-tempo dramatic grooves with a lot of breathing space. The opener ('Wind and Gales') gives a taste of things to come: a well conceived and executed 24-min. opus. Andy Nixon's voice is wrapped in strong harmonies to revel in a guitar web and hypnotic key layers, while atmospheric soundscapes and rhythmic parts afford an enthralling interplay that impresses with flourishes. Surprising variations of main motif are smartly arranged to build a recurrent theme. The ultimate credit goes to Pete Riley whose superb work presents a solid foundation without being dominant. The lyrics are representative and typify so apt for engrossing concept. One of the six tracks is instrumental. Definitely thumbs up! It's not easy to pick out only one favourite, but I'm hooked by a closing number 'Hypnotized' (stylistically, it would be at home on 'The Wall')...' Freedom To Glide is a unique tandem who can create historically based musical theatre geared towards the ears and mind. Cos' I shall keep an eye out to see where F2g goes from here...

Being a military historian and a fan of pacifism, (no it's not a contradiction), I always get a kick from any album that deals with the two cataclysmic catastrophes of our time, the grim and unjust WW1 and its evil cousin, the vile and hideous WW2. Strangely, prog war epics are not that plentiful, outside of Floyd's the Wall being utterly obvious, there was a Big Big Train recording that dealt with the Battle of Britain and the glory of the RAF, so has Vienna Circle and its impressive debut, 'White Clouds' and Xang's grim "The Lasts of Lasts" dealing with the Verdun tragedy and an outright military holocaust, because slaughter is too tame a word for what happened there!

The music of Freedom to Glide (F2G) is a sensorial tapestry of clever songs, firmly embellished and utterly progressive, even though there is an undeniable Pink Floyd vibe, surely due to the fact that the 2 artist-musicians are also part of a PF tribute band. Andy Nixon handles all guitars, bass and vocals while Peter Riley is the keyboard master. But at closer inspection, it's more multi-faceted in scope and style than their mentors, lots of acoustic guitar to temper the Gilmourian episodes, which are daring and frequent. Diversity is something that keeps F2G nicely rounded and thoroughly grounded, using various tones and textures that are quite unlike PF. Yet, Rain has a very modern sheen and spectral glimmer, talking about a bygone age when young 19 year olds went to die , in horrific condition, where gas attacks, bayonet charges and cannonades that buried soldiers alive in their trenches. In a rather highly personal style, F2G opted to focus the storytelling via the very real existence of Cpl Robert Wilson, a gallant British soldier in WW1, who suffered through Gallipoli and the Somme, mustard gas attacks, muddy excrement and body parts-laden trenches, prisoner executions, mass cratered graves and ultimately being saved by an enemy doctor (their website tells the whole gory story). This very real man passed away in 1986.

In order to stamp the progressive seals on this masterwork, there is a 4 part title track suite that separates tracks instead of following each other into the open field. What a glittering opening then, "Rain part1" really sets the mood quite eloquently, brooding, whispery, moody and highly atmospheric. Solemn, forlorn and deeply melancholic, the wind swept synthesized effects add a dimension that is inescapable, a sense of impending catastrophe that words simply cannot honor. There is a valid nod to Gilmour as the guitars wail, yet the voice of Andy Nixon has little in common with either Floydists, though guest Francesca Genco does get into the Clare Torry art of wailing superb choir notes.

The keyboard-fueled oboe patch on "Anywhere Else but Here" is a tremendous addition, both somber and hopeful, the grim contrast of the reality of war where valor and horror shake the hands of the Devil. This track is exquisite in its despondence, a shivering cry in the night, from a young soul that would rather enjoy life than to, willingly, take someone else's. The segue into the starker "Path of Reason" is self-explanatory, the style almost familiar as if Simple Minds have decided to go prog, but the lesson is never really learned , 'just an endless rhyme', a futile meat grinder from which there is no rest and no escape.

"Riders on a Wave" has some clever aspects, the 'wave' being an assault borne by fearful and desperate soldiers thrown into struggle, 'fooled by those in whom we put our faith' and the breezy indifference of hopelessness, Nixon weaving nicely on acoustic guitar, a whiff of some Americana, a discreet nod to the Californian bad boys The Doors.

"Price of Freedom" is the classic marketing spiel used to inspire young men to throw their lives away willingly in some foreign land, for some obscure cause determined by the social tyrants (kings, emperors, 'fuehrers and duces'). Anesthetized by fake concepts of chivalry, valor, courage and bravery, the two opposing military sides line-up their entire budding youth, loaded with unfulfilled Mozarts and Einsteins, ready for the eternal meat grinder. This piece represents a high point in the set-list, a mercurial display of emotional atmospherics (that surreal oboe-patch doing its trick again), lyrics decidedly convincing and the carving guitar stings nastily. Poignant, resolute and unfathomably naive.

On the fragile, piano-driven "LU 2", the serenity becomes overpowering as Nixon sings the anthem of exhausted desperation, as Riley caresses the ivories with tremulous ennui, that slowly leads lovingly into "Rain part 2", brave young men falling like raindrops on a mud- soaked battlefield moonscape, mowed down by spurting death bullets propelled by Lewis or Mauser. Nixon unleashes a brief but explosive barrage as the orchestral bravura ends the piece.

The deadly "Angels & Stones" is another highlight piece, both lyrically and instrumentally, an arsenal of spooky electronics , echo-laden voice and mechanical percussion that meanders purposefully, beyond the blood-drenched front-lines, floating over mists of yellow matter mustard dripping from the dead men's eyes. "Rain 3- Wind and Gales" elevates the hypocrisy to stirring heights, increasing the pain and the horror to nearly sarcastic levels. Brothers in arms, sworn enemies that have only language as differentiators, the rest being nothing more than blind obedience dictated by the elite cowards that choose to lead us, almost always very poorly. Brooding electric piano haunts the trenches, metronome beat, distant thunder and rumbling eeriness, all combine to provide the dark musical shadows and a sad refrain. Barbed-wire bass keeps the pace alive and panting, mud and blood united as one. There is a strong Alan Parsons Project vibe, albeit in a way proggier context, an ear-friendly vocal delivery being the prime witness.

"When the Whistle Blows" is the epic piece directed specifically at Cpl. Robert Wilson's plight , a sprawling diatribe that chooses to infuse historical context (Cumberland to Gallipoli, the Somme, Kitchener), a scathing anti-war rant that crucifies lives in the name of King, Kaiser and country. "Red rivers flow when the whistle blows" swoons the sad balladeer. Rolling bass and a screeching guitar solo gives the mood a harrowing pulse, fully laden with bluesy despair. As the morning mist flutters away, ladders are raised at perfect intervals, crazed officers blow the whistles signalling another lethal charge, a manic obedience that leads to dismemberment and innards spilling outwards. A grueling yet impressive cinematographic arrangement, with loads of special effects and serene dialogue.

"Rain part 4" is the final chapter in the by-now familiar theme, a reoccurring sense of comfort amid the strewn carnage, crying guitar drops, meandering with the blood and the sweat of so many young heroes and martyrs. "So my brothers fell like rain" is repeated endlessly, in choir form, as if the mutilated corpses hurled one last hurrah for eternity. "Home again" is the ultimate torture, the survivors feeling guilty to not have died along with their comrades in arms. The silence, the routine and the inevitable lack of remembrance is perhaps even worse than dying. Bells peal in the background, preparing the stage for a rendition of Taps, the final bugle call to the departed.

Strangely, "Not a Broken Man" appeals to the urge to survive, live on and prosper. A promise of peace and resurrection that sadly will not surface until well after Hiroshima and Nagasaki, WW2 being a direct and literally uninterrupted consequence of the first great conflagration. Sweet acoustic guitar paints a pastoral theme of scars and callouses, human will and wounds that never heal.

Impressive story of that Great Horrible War, a history lesson that still fails to convince the world that strife is NOT the answer, foolishly repeating the same distasteful errors of the past, like some Dennis the Menace brat that refuses to listen to reason. From Luxembourg to the Channel coast, endless streams of military cemeteries remind too few 21st century humans of the millions of lives lost in the brutal siege of Verdun, Passchendaele, Vimy Ridge, Ypres, Cambrai and those two river battles, the Marne and the Somme. Little territorial change occurred yet millions died, senselessly.

Listen and learn...

4.5 Big Berthas

The seeds of this British project were set in 2010, when Pete Riley asked some help with the recording of a song from his bandmate Andy Nixon.They both played in the Pink Floyd tribute band ''Dark Side of the Wall''.A collaboration on original material started between the two musicians with ideas being sent via internet and Freedom to Glide were originally born in 2012 with the release of their first EP ''Rain'' in May.Soon after Riley and Nixon started working on the concept mini-album ''The wait'', dealing with the life of a soldier of World War 1 and his inability to capture the meaining of a war.The album was released independently in November 2012.

As both Riley and Nixon came from a Floyd tribute band, there are certain glimpses of a Floyd- ian enviroment throughout the album, delivered in the more lyrical side of the group with modern Prog touches and slight psychedelic leanings.The style recalls more recent UK acts such as EDISON'S CHILDREN and RIVERSEA, while there are also shades of Hogarth-era MARILLION and NEAL MORSE's more mellow songs.The music is rather laid-back with light orchestral parts and deep vocal lines, dealing with the concept, whie in a couple of pieces a heavier electric atmosphere is presented through the use of doomy, guitar riffs.There are also some spacey, ambiental textures in orded to deliver a more emotional feeling to the listener and the vocals of the album remain clean and expressive throughout.Heavily relying on acoustic guitars and background keyboards, the album lacks some nerve, almost intentionally, with a straight aim to serve the needs of the concept.However it is this pair of tracks with the electroacoustic changes, that makes Freedom to Glide's sound really interesting and more challenging.

A decent first step and introduction to the goals of this British duo.Emotional modern Prog/Art Rock with MARILLION and PINK FLOYD touches, working in a sensitive concept.Recommended.