Latest Reviews
Keep checking back here for all the latest press reviews from our last two albums From a Point of Existence and Road to Darkness.
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From a Point of Existence Review 1
www.musicstreetjournal.com
Review by G. W. Hill
When I reviewed the last disc from Gandalf’s Fist, I heaped some high praise on it. In fact, it was my favorite album from last year. So, it was with definite anticipation and excitement that I got this album, their newest. Well, let me say that this set is really quite a stretch from that release. While the last one was more Pink Floyd like, this one covers a lot wider musical territory. I haven’t yet decided if it’s as good as the last one. That said, it’s likely to be close to the top of my list for best album of 2012, so yes, it is great. It’s going to take some more time before I figure out if I like it better than its predecessor or not. But, either way, Gandalf’s Fist have managed to put together another exceptional disc. These guys are proving to be a very exceptional act.
Track by Track Review
The Tale of William Small
The sounds of wind open this. Then we hear a weird calliope type of sound before acoustic guitar brings the vocals into the track. There’s an echoey, slightly distorted sound to the vocals and the music calls to mind the folkier side of Pink Floyd. The wind returns to end the piece.
From a Point of Existence (Parts I-V)
The first section of this suite comes in with tentative, rather mysterious progressive rock. “Part 1: Obscuration” works out to more traditional progressive rock from there, but layers of sound lend more mystery and drama as it continues. In some ways the rhythm section calls to mind mid-period Genesis for a time. It shifts to a darker sound, though, perhaps a bit like some progressive metal, but without a lot of the crunch. Rocking, but still rather distant, vocals join the mix. It does turn towards metal for a short time in a burst of energy, then drops down to more melodic music that’s rather mysterious. This works through a number of changes. Piano brings the second movement into being. That section (running about two minutes in length) is called “Part II: Ascension” and has a mellower, more purely melodic tone to it. It doesn’t lose any energy, though. It doesn’t wander a lot. “Part III: Purgatory” starts with moody, spacey electronic music. Then it fires out into something that’s very metallic. There are some guitar riffs on this section that even call to mind Iron Maiden. Near the end of the section, it drops back to some earlier themes for the next vocals. As “Part IV: The Fall” continues, the main themes return before they take it to a thrashy kind of metallic jam. Metal is combined with progressive rock in a great arrangement as this continues. They really turn in a number of different directions and there’s some smoking hot metallic guitar soloing here. As the final section, “Part V: Otherworld” enters crunch progressive rock with spoken vocals calls to mind the proggier side of Queensryche a bit. It seems to return to some earlier themes while also stretching things out a bit. This eventually takes the whole suite out at around the sixteen and a half minute mark.
Gathering of the Clouds
Spacey melodic progressive rock, rather Pink Floyd-like opens this and grows outward gradually. A little past the one minute mark it shifts to a faster paced, almost metallic, riff driven jam that’s very cool. It works to a more melodic movement that has a lot of psychedelia in it for the vocals. It’s slow moving and quite tasty. There are a number of changes and varying motifs here, but it’s all a very organic and smooth ride. It’s also very entertaining. They take it to a soaring kind of jam later in the piece that gets a little metallic at times. It becomes rather symphonic as that movement continues and at times even feels a bit like a more fusion oriented version of Yes. Yet, the riff driven movement is more Dream Theater-like. That section takes it out.
There and Back Again
An acoustic guitar based, ballad style opens this, feeling a little like one of the ballads from an 80s metal band. At a little less than five and a half minutes in length, this is one of the shortest cuts on the album. It’s also one of the most straightforward, feeling more like a classic rock song with some folk leanings. Some of the keyboards bring more of that retro Pink Floyd sound, but this is really an AOR jam that’s quite cool. Some of the harder rocking guitar on the piece reinforces that Floyd reference. There is some particularly tasty, classic rock styled guitar soloing later in the track. While that also has some hints of Iron Maiden, it almost seems more like the Allman Brothers or something related. They drop it down to the acoustic ballad approach for a reprise of the opening section later. It gets more accessible on the later choruses. There’s a bit of a metallic riff based section that serves as the closing section to the piece.
Crestfallen
While a few earlier songs have hinted at metal and Iron Maiden, when this one opens it feels like a cross between Maiden and Fates Warning. They take it to more melodic prog from there, but we get another of those accessible, mainstream metallic jams for the chorus. While they do an excellent job of alternating this between sections like that and moodier mellow motifs, this is a fairly straightforward cut. It includes a killer hard rocking instrumental movement later in the piece. It does turn a bit more metallic after this extended instrumental segment.
Monolith
There’s a hard rocking, envelope filtered sound to the main riff here. Pink Floyd is again a valid reference, but only so valid. There is a lot of psychedelic rock here and some great spacey textures. While this does work through some changes, it’s among the more straight-line oriented pieces here.
From a Point of Existence (Parts VI-X)
A tolling bell and wind sounds open “Part VI: Singularity” as the epic is rejoined. Fairly metallic music rises up to serve as the backdrop for the vocals. As the next movement opens, keyboards bring with them an almost ELP-like sound. “Part VII: Isaiah 38:18” becomes more guitar oriented, riff driven and metallic as it continues. As they take it into “Part VIII: Mooncode,” it feels like a continuation at first. It mellows down from there, though and more melodic progressive rock continues the piece. The closing section of that movement (or should it be called the “segue section”) has an almost old-school Rush metallic vibe to it. They take into some more traditional progressive rock sounds as “Part IX: Contemplations” ensues. Still, it drops back for some nicely metallic music later in that movement. We get a return to melodic, rather psychedelic progressive rock from there. It’s quite a diverse segment that seems to bring back a number of earlier themes and motifs. The closing section (“Part X: The Page Turns”) feels like it does a great job of bringing the whole thing down to take it out while staying true to the musical themes previously presented. At over thirteen and a half minutes in length, taken by itself this is the second longest piece here. Of course, one could look at it as the second half of one seriously epic number, too.
Review by G. W. Hill
When I reviewed the last disc from Gandalf’s Fist, I heaped some high praise on it. In fact, it was my favorite album from last year. So, it was with definite anticipation and excitement that I got this album, their newest. Well, let me say that this set is really quite a stretch from that release. While the last one was more Pink Floyd like, this one covers a lot wider musical territory. I haven’t yet decided if it’s as good as the last one. That said, it’s likely to be close to the top of my list for best album of 2012, so yes, it is great. It’s going to take some more time before I figure out if I like it better than its predecessor or not. But, either way, Gandalf’s Fist have managed to put together another exceptional disc. These guys are proving to be a very exceptional act.
Track by Track Review
The Tale of William Small
The sounds of wind open this. Then we hear a weird calliope type of sound before acoustic guitar brings the vocals into the track. There’s an echoey, slightly distorted sound to the vocals and the music calls to mind the folkier side of Pink Floyd. The wind returns to end the piece.
From a Point of Existence (Parts I-V)
The first section of this suite comes in with tentative, rather mysterious progressive rock. “Part 1: Obscuration” works out to more traditional progressive rock from there, but layers of sound lend more mystery and drama as it continues. In some ways the rhythm section calls to mind mid-period Genesis for a time. It shifts to a darker sound, though, perhaps a bit like some progressive metal, but without a lot of the crunch. Rocking, but still rather distant, vocals join the mix. It does turn towards metal for a short time in a burst of energy, then drops down to more melodic music that’s rather mysterious. This works through a number of changes. Piano brings the second movement into being. That section (running about two minutes in length) is called “Part II: Ascension” and has a mellower, more purely melodic tone to it. It doesn’t lose any energy, though. It doesn’t wander a lot. “Part III: Purgatory” starts with moody, spacey electronic music. Then it fires out into something that’s very metallic. There are some guitar riffs on this section that even call to mind Iron Maiden. Near the end of the section, it drops back to some earlier themes for the next vocals. As “Part IV: The Fall” continues, the main themes return before they take it to a thrashy kind of metallic jam. Metal is combined with progressive rock in a great arrangement as this continues. They really turn in a number of different directions and there’s some smoking hot metallic guitar soloing here. As the final section, “Part V: Otherworld” enters crunch progressive rock with spoken vocals calls to mind the proggier side of Queensryche a bit. It seems to return to some earlier themes while also stretching things out a bit. This eventually takes the whole suite out at around the sixteen and a half minute mark.
Gathering of the Clouds
Spacey melodic progressive rock, rather Pink Floyd-like opens this and grows outward gradually. A little past the one minute mark it shifts to a faster paced, almost metallic, riff driven jam that’s very cool. It works to a more melodic movement that has a lot of psychedelia in it for the vocals. It’s slow moving and quite tasty. There are a number of changes and varying motifs here, but it’s all a very organic and smooth ride. It’s also very entertaining. They take it to a soaring kind of jam later in the piece that gets a little metallic at times. It becomes rather symphonic as that movement continues and at times even feels a bit like a more fusion oriented version of Yes. Yet, the riff driven movement is more Dream Theater-like. That section takes it out.
There and Back Again
An acoustic guitar based, ballad style opens this, feeling a little like one of the ballads from an 80s metal band. At a little less than five and a half minutes in length, this is one of the shortest cuts on the album. It’s also one of the most straightforward, feeling more like a classic rock song with some folk leanings. Some of the keyboards bring more of that retro Pink Floyd sound, but this is really an AOR jam that’s quite cool. Some of the harder rocking guitar on the piece reinforces that Floyd reference. There is some particularly tasty, classic rock styled guitar soloing later in the track. While that also has some hints of Iron Maiden, it almost seems more like the Allman Brothers or something related. They drop it down to the acoustic ballad approach for a reprise of the opening section later. It gets more accessible on the later choruses. There’s a bit of a metallic riff based section that serves as the closing section to the piece.
Crestfallen
While a few earlier songs have hinted at metal and Iron Maiden, when this one opens it feels like a cross between Maiden and Fates Warning. They take it to more melodic prog from there, but we get another of those accessible, mainstream metallic jams for the chorus. While they do an excellent job of alternating this between sections like that and moodier mellow motifs, this is a fairly straightforward cut. It includes a killer hard rocking instrumental movement later in the piece. It does turn a bit more metallic after this extended instrumental segment.
Monolith
There’s a hard rocking, envelope filtered sound to the main riff here. Pink Floyd is again a valid reference, but only so valid. There is a lot of psychedelic rock here and some great spacey textures. While this does work through some changes, it’s among the more straight-line oriented pieces here.
From a Point of Existence (Parts VI-X)
A tolling bell and wind sounds open “Part VI: Singularity” as the epic is rejoined. Fairly metallic music rises up to serve as the backdrop for the vocals. As the next movement opens, keyboards bring with them an almost ELP-like sound. “Part VII: Isaiah 38:18” becomes more guitar oriented, riff driven and metallic as it continues. As they take it into “Part VIII: Mooncode,” it feels like a continuation at first. It mellows down from there, though and more melodic progressive rock continues the piece. The closing section of that movement (or should it be called the “segue section”) has an almost old-school Rush metallic vibe to it. They take into some more traditional progressive rock sounds as “Part IX: Contemplations” ensues. Still, it drops back for some nicely metallic music later in that movement. We get a return to melodic, rather psychedelic progressive rock from there. It’s quite a diverse segment that seems to bring back a number of earlier themes and motifs. The closing section (“Part X: The Page Turns”) feels like it does a great job of bringing the whole thing down to take it out while staying true to the musical themes previously presented. At over thirteen and a half minutes in length, taken by itself this is the second longest piece here. Of course, one could look at it as the second half of one seriously epic number, too.
Review 2
http://www.progrockmusictalk.com
Review By Kevin Kozel
I always enjoy getting a chance to review a follow-up album by a band I reviewed previously. In this instance the band is British duo, Gandalf’s Fist, and the album is From a Point of Existence. Existence is the band’s follow-up to 2011’s Road to Darkness. Darkness was an epic, progressive rock concept album based around a re-imagining of The Wizard of Oz. It was an interesting idea that was a bit out there for casual listeners, but is this latest release more accessible or in the same vein?
As to be expected, From a Point of Existence is inspired by Tolkien novels to some extent. I’m not entirely sure how it all goes together, but it is also about an ice cream van operator named William and the theft of draconian business-magnate Sir Jason Drake’s personal wealth. Don’t ask me, check out the band’s website if you want to try and make sense of it all. Gandalf’s Fist brings you seven new tracks this go round, three of which clock in at over nine minutes of their psychedelic rock stylings.
From a Point of Existence still has the Pink Floyd/psychedelic vibe like its predecessor, but not as much. This album rocks more for me though. There are big riffs and solos, heavy beats and crashing cymbals. I enjoyed this more this go round, as I did the vocals. They can be creepy, breathy, and spacey, but they just worked more for me this time. I was also surprised that I did not grow tired of the songs that reach over 9 minutes (well over at times). It’s rare that they don’t seem to drag on, but the many changes kept them moving nicely so much that I didn’t really even notice. I didn’t really enjoy the synthesizers very much though, but they did add more of a futuristic dimension at times.
Overall I found From a Point of Existence to be a step in the right direction for Gandalf’s Fist. While still sticking to a similar style for the most part, they often improve on it. The concept’s behind their albums still remain interesting to say the least, but if it’s that’s how they find their inspiration then so be it. From a Point of Existence is also more accessible for a general audience. While you still get some lengthy prog rock jammers, you also get more hooks and even something of a single in “There and Back Again.” This go round Gandalf’s Fist stays true to themselves but also make some adjustments that should appeal to a larger audience. The end product is better for it.
4/5 Stars
Key Tracks: From a Point of Existence (Parts I-V), There and Back Again, Crestfallen
Review By Kevin Kozel
I always enjoy getting a chance to review a follow-up album by a band I reviewed previously. In this instance the band is British duo, Gandalf’s Fist, and the album is From a Point of Existence. Existence is the band’s follow-up to 2011’s Road to Darkness. Darkness was an epic, progressive rock concept album based around a re-imagining of The Wizard of Oz. It was an interesting idea that was a bit out there for casual listeners, but is this latest release more accessible or in the same vein?
As to be expected, From a Point of Existence is inspired by Tolkien novels to some extent. I’m not entirely sure how it all goes together, but it is also about an ice cream van operator named William and the theft of draconian business-magnate Sir Jason Drake’s personal wealth. Don’t ask me, check out the band’s website if you want to try and make sense of it all. Gandalf’s Fist brings you seven new tracks this go round, three of which clock in at over nine minutes of their psychedelic rock stylings.
From a Point of Existence still has the Pink Floyd/psychedelic vibe like its predecessor, but not as much. This album rocks more for me though. There are big riffs and solos, heavy beats and crashing cymbals. I enjoyed this more this go round, as I did the vocals. They can be creepy, breathy, and spacey, but they just worked more for me this time. I was also surprised that I did not grow tired of the songs that reach over 9 minutes (well over at times). It’s rare that they don’t seem to drag on, but the many changes kept them moving nicely so much that I didn’t really even notice. I didn’t really enjoy the synthesizers very much though, but they did add more of a futuristic dimension at times.
Overall I found From a Point of Existence to be a step in the right direction for Gandalf’s Fist. While still sticking to a similar style for the most part, they often improve on it. The concept’s behind their albums still remain interesting to say the least, but if it’s that’s how they find their inspiration then so be it. From a Point of Existence is also more accessible for a general audience. While you still get some lengthy prog rock jammers, you also get more hooks and even something of a single in “There and Back Again.” This go round Gandalf’s Fist stays true to themselves but also make some adjustments that should appeal to a larger audience. The end product is better for it.
4/5 Stars
Key Tracks: From a Point of Existence (Parts I-V), There and Back Again, Crestfallen
Road to Darkness Review 1
www.musicstreetjournal.com
I received this album and had little warning of the joys about to unfold. After a few listenings it’s become one of my all time favorite discs. Yes, it’s that good. It’s a safe bet to say it will be on my list of best discs of 2011. It’s progressive rock that’s based heavily in the classic tradition of prog, but with some helpings of modern sounds, too. The first impressions of the album reveal early Pink Floyd leanings. It would be easy to start and stop a review with those observations, but really, there’s a lot more here. Sure, the predominate element is Floyd, but fusion and Celtic rock, along with metallic prog, all make appearances.
This is a concept album based on The Wizard of Oz. When you consider the whole “Dark Side of the Rainbow” concept (that’s the idea that the Dark Side of the Moon album lines up perfectly with the film of the Wizard of Oz) and the similarities between the sound of this disc and Pink Floyd, there is a whole new level of connections created. All in all, this album will definitely appeal to fans of Pink Floyd. I’d go a lot further, though, and say the sounds here should be of interest to anyone who enjoys progressive rock, both modern and classic versions of the genre. I love this album, and I’ll bet if you are a prog fan, you’ll at least like it a lot.
Track by Track Review
No Place Cyclone
The sound that opens this cut feels like jus harp, but with effects and sound reinforcement added. Keyboards and other elements are added to fill out the sound. This has a real mysterious and dramatic tone to it. This extended instrumental serves as the introduction to the album.
Emerald Eyes
Coming in like some lost cut from Pink Floyd’s Dark Side of the Moon album, sections are added that feel closer to the Meddle disc. Still, this really does capture a Pink Floyd sound throughout. Some backing female vocals enter later that do a great job of continuing that Dark Side of the Moon element. There is a harder edge at times on this song, though, perhaps a bit like Radiohead. An acoustic guitar driven section takes it later.
Conjurer of Cheap Tricks
Starting mellow, this turns dark and mysterious rather shortly. Then it fires out to some of the hardest rocking music we’ve heard thus far. A spooky voice is heard in a little drop back, then it becomes hard rocking again. A little clip from the movie The Wizard of Oz, “I’ll get you my pretty, and your little dog, too,” closes this short instrumental.
Into The Dark (Containing Emerald Eyes Reprise)
A metallic riff leads this off and as it pounds along more traditional progressive rock elements come in over the top. This shifts and changes in a great fashion as it continues. Around the minute and a half mark it becomes mellower and then the vocals come in over the top. There are hints of Pink Floyd here, but this resembles modern progressive rock like Porcupine Tree or Marillion more than it does Floyd. The vocal hook is rather catchy and there are some cool instrumental hooks, too. Past the three and a half mark it shifts out to a pounding, nearly metallic jam. There is an almost Iron Maiden like riff that comes in after the four minute mark, yet there is still enough progressive rock in the arrangement to keep it from slipping into metal territory. This is a twisting and turning number that’s among the strongest of the set. It does a great job of combining both modern and classic progressive rock leanings. There’s a melodic movement at the end of the piece that’s more Pink Floyd like and again calls to mind that Dark Side of the Moon period.
Twilight at The Gates of the Prism Moon
Spacey sound effects open this number. More songlike structures enter after a time and a guitar solos over the top of some nice keyboard music. The guitar seems to capture the spirit of Hendrix and Satriani at the same time. Still, the music that backs it up lends a fusion-like air to the piece.
The Sulfur Highways of Io
A melodic progressive rock arrangement brings this in the cut works through in instrumental fashion. There’s arguably as much Yes and Genesis on display here as there is Pink Floyd. Once more the guitar soloing brings with it some Satriani. An interlude features some bits of spoken word and some definite Floydian textures. When it resolves out to the vocal section those Pink Floyd leanings are all over this.
Untrodden Ways
This comes in quite folk-like and Celtic elements are on display. When the first vocals join, that sound is linked with some psychedelia. A bit before the three minute mark they pound it out into a hard edged jam. It really resembles Tempest during that section because it’s crunchy and completely Celtic in nature.
Road to Darkness
They start this off tentatively with something a bit like the jazzy side of early Pink Floyd. Then a progression rises up that’s closer to Supertramp. As the guitar solos overhead, though, we’re back into decidedly Floydian territory. This piece keeps changing as different segments come and go. A little before the three minute mark it shifts to a cool, more stripped down jam and some processed, spoken vocals are heard overhead. From there it turns into a Floyd-like jam. It modulates back to the spoken vocals again.
The Council of Anderson
Melodic progressive rock leads this off. The keyboard sounds that soar over the top feel closer to something from Yes than the Floydian elements that are heard along much of the disc. The section that serves as the backdrop for the vocals feels a bit like a cross between early Pink Floyd and The Who. After that segment they take it into a soaring instrumental movement that’s got some inspired keyboards and guitar. A dramatic staccato jam comes in after that. Then they take it to a melodic, almost fusion-like movement. That turns to a harder rocking prog jam that’s got lots of energy. That motif takes it out, feeling a bit like Satriani at times.
Assorted Lunatics
This comes in with melodic progressive rock that revisits earlier themes. The number fits more in the moody styled mellow prog territory. It’s got Floyd leanings, but also features a lot of more modern sounds like Porcupine Tree.
I received this album and had little warning of the joys about to unfold. After a few listenings it’s become one of my all time favorite discs. Yes, it’s that good. It’s a safe bet to say it will be on my list of best discs of 2011. It’s progressive rock that’s based heavily in the classic tradition of prog, but with some helpings of modern sounds, too. The first impressions of the album reveal early Pink Floyd leanings. It would be easy to start and stop a review with those observations, but really, there’s a lot more here. Sure, the predominate element is Floyd, but fusion and Celtic rock, along with metallic prog, all make appearances.
This is a concept album based on The Wizard of Oz. When you consider the whole “Dark Side of the Rainbow” concept (that’s the idea that the Dark Side of the Moon album lines up perfectly with the film of the Wizard of Oz) and the similarities between the sound of this disc and Pink Floyd, there is a whole new level of connections created. All in all, this album will definitely appeal to fans of Pink Floyd. I’d go a lot further, though, and say the sounds here should be of interest to anyone who enjoys progressive rock, both modern and classic versions of the genre. I love this album, and I’ll bet if you are a prog fan, you’ll at least like it a lot.
Track by Track Review
No Place Cyclone
The sound that opens this cut feels like jus harp, but with effects and sound reinforcement added. Keyboards and other elements are added to fill out the sound. This has a real mysterious and dramatic tone to it. This extended instrumental serves as the introduction to the album.
Emerald Eyes
Coming in like some lost cut from Pink Floyd’s Dark Side of the Moon album, sections are added that feel closer to the Meddle disc. Still, this really does capture a Pink Floyd sound throughout. Some backing female vocals enter later that do a great job of continuing that Dark Side of the Moon element. There is a harder edge at times on this song, though, perhaps a bit like Radiohead. An acoustic guitar driven section takes it later.
Conjurer of Cheap Tricks
Starting mellow, this turns dark and mysterious rather shortly. Then it fires out to some of the hardest rocking music we’ve heard thus far. A spooky voice is heard in a little drop back, then it becomes hard rocking again. A little clip from the movie The Wizard of Oz, “I’ll get you my pretty, and your little dog, too,” closes this short instrumental.
Into The Dark (Containing Emerald Eyes Reprise)
A metallic riff leads this off and as it pounds along more traditional progressive rock elements come in over the top. This shifts and changes in a great fashion as it continues. Around the minute and a half mark it becomes mellower and then the vocals come in over the top. There are hints of Pink Floyd here, but this resembles modern progressive rock like Porcupine Tree or Marillion more than it does Floyd. The vocal hook is rather catchy and there are some cool instrumental hooks, too. Past the three and a half mark it shifts out to a pounding, nearly metallic jam. There is an almost Iron Maiden like riff that comes in after the four minute mark, yet there is still enough progressive rock in the arrangement to keep it from slipping into metal territory. This is a twisting and turning number that’s among the strongest of the set. It does a great job of combining both modern and classic progressive rock leanings. There’s a melodic movement at the end of the piece that’s more Pink Floyd like and again calls to mind that Dark Side of the Moon period.
Twilight at The Gates of the Prism Moon
Spacey sound effects open this number. More songlike structures enter after a time and a guitar solos over the top of some nice keyboard music. The guitar seems to capture the spirit of Hendrix and Satriani at the same time. Still, the music that backs it up lends a fusion-like air to the piece.
The Sulfur Highways of Io
A melodic progressive rock arrangement brings this in the cut works through in instrumental fashion. There’s arguably as much Yes and Genesis on display here as there is Pink Floyd. Once more the guitar soloing brings with it some Satriani. An interlude features some bits of spoken word and some definite Floydian textures. When it resolves out to the vocal section those Pink Floyd leanings are all over this.
Untrodden Ways
This comes in quite folk-like and Celtic elements are on display. When the first vocals join, that sound is linked with some psychedelia. A bit before the three minute mark they pound it out into a hard edged jam. It really resembles Tempest during that section because it’s crunchy and completely Celtic in nature.
Road to Darkness
They start this off tentatively with something a bit like the jazzy side of early Pink Floyd. Then a progression rises up that’s closer to Supertramp. As the guitar solos overhead, though, we’re back into decidedly Floydian territory. This piece keeps changing as different segments come and go. A little before the three minute mark it shifts to a cool, more stripped down jam and some processed, spoken vocals are heard overhead. From there it turns into a Floyd-like jam. It modulates back to the spoken vocals again.
The Council of Anderson
Melodic progressive rock leads this off. The keyboard sounds that soar over the top feel closer to something from Yes than the Floydian elements that are heard along much of the disc. The section that serves as the backdrop for the vocals feels a bit like a cross between early Pink Floyd and The Who. After that segment they take it into a soaring instrumental movement that’s got some inspired keyboards and guitar. A dramatic staccato jam comes in after that. Then they take it to a melodic, almost fusion-like movement. That turns to a harder rocking prog jam that’s got lots of energy. That motif takes it out, feeling a bit like Satriani at times.
Assorted Lunatics
This comes in with melodic progressive rock that revisits earlier themes. The number fits more in the moody styled mellow prog territory. It’s got Floyd leanings, but also features a lot of more modern sounds like Porcupine Tree.
Review 2
Mygolbalmind.com
With a band name like GANDALF’S FIST, and an album title like ROAD TO DARKNESS it would be easy to dismiss this release as just another generic album in the flooded power metal field, but it would be a shame to do that because if you did you would miss out on one of the best progressive rock albums of 2011. ROAD TO DARKNESS is a concept album that takes the tale of THE WIZARD OF OZ and re-imagines it into a dark tale of a scared girl that is unwillingly whisked away into a fantastical dark world.
This isn’t your talking tin-man and lion type of fairy-tale though, no this tale is much, much darker and actually plays out more like a horror story than anything else. But enough of the story hey, I mean after all this is a website about music is it not? Okay then, gladly the musical aspect of this album is also something pretty special. It’s minimalistic in places, coming out more like a hybrid of progressive rock and neo-folk music but it is totally haunting and captivating the entire time. Little additions like a couple of sections that have a Celtic-folk vibe also add plenty of surprises. I do feel a strong love for PINK FLOYD coming from this album and there’s a couple of tunes that could have easily sat somewhere amongst the tracklist on DARK SIDE OF THE MOON or WISH YOU WERE HERE. It’s a good thing though that the music side of things is so well done as there is plenty of time to absorb it due to the fact that large chunks of this album are purely instrumental.
While the actual production of the physical product itself was obviously done on a strict budget there is one special little touch that deserves a mention here… Inside the booklet is a sort of separate mini-book that serves as a lyrics compendium, but in the centre of it is an awesomely draw map that shows the world the story is based in. For an idea on what this map looks like, it reminded a LOT of those old cloth maps you used to get in PC role-playing games, or the kind of maps that are visible in pause menus of modern day RPG games.
All I can say is if you are a fan of slower progressive rock or enjoy following a story throughout an album, ROAD TO DARKNESS should definitely be on your radar. GADALF’S FIST may prove to be a little too mellow for a lot of people, but this album is of a very high quality and certainly deserves a look in.
Written By ZeeZee
Rating : 9/10
With a band name like GANDALF’S FIST, and an album title like ROAD TO DARKNESS it would be easy to dismiss this release as just another generic album in the flooded power metal field, but it would be a shame to do that because if you did you would miss out on one of the best progressive rock albums of 2011. ROAD TO DARKNESS is a concept album that takes the tale of THE WIZARD OF OZ and re-imagines it into a dark tale of a scared girl that is unwillingly whisked away into a fantastical dark world.
This isn’t your talking tin-man and lion type of fairy-tale though, no this tale is much, much darker and actually plays out more like a horror story than anything else. But enough of the story hey, I mean after all this is a website about music is it not? Okay then, gladly the musical aspect of this album is also something pretty special. It’s minimalistic in places, coming out more like a hybrid of progressive rock and neo-folk music but it is totally haunting and captivating the entire time. Little additions like a couple of sections that have a Celtic-folk vibe also add plenty of surprises. I do feel a strong love for PINK FLOYD coming from this album and there’s a couple of tunes that could have easily sat somewhere amongst the tracklist on DARK SIDE OF THE MOON or WISH YOU WERE HERE. It’s a good thing though that the music side of things is so well done as there is plenty of time to absorb it due to the fact that large chunks of this album are purely instrumental.
While the actual production of the physical product itself was obviously done on a strict budget there is one special little touch that deserves a mention here… Inside the booklet is a sort of separate mini-book that serves as a lyrics compendium, but in the centre of it is an awesomely draw map that shows the world the story is based in. For an idea on what this map looks like, it reminded a LOT of those old cloth maps you used to get in PC role-playing games, or the kind of maps that are visible in pause menus of modern day RPG games.
All I can say is if you are a fan of slower progressive rock or enjoy following a story throughout an album, ROAD TO DARKNESS should definitely be on your radar. GADALF’S FIST may prove to be a little too mellow for a lot of people, but this album is of a very high quality and certainly deserves a look in.
Written By ZeeZee
Rating : 9/10
Review 3
This a fantastic Prog-Rock album, if you like Pink Floyd you'll love this.
opening track "there's no place cyclone" starts of with weird noises that sounds like a jew's harp, it draws you in straight away.
"Emerald eyes" is very Pink Floyd dark side of moon sounding with a nice bit of guitar and female vocals.
'Conjurer of cheap tricks' is a short instrumental which has bit of Wizard of oz in it.
'Into the dark/emerald eyes reprise' is a typical prog-rock track with lots of changes in it...it has mellow vocals and halfway through it goes into heavy guitar playing...great stuff, quite catchy song.
'Twilight at the gates of the prism moon' starts off really spacey then adds more weird noises and turns out quite nice - some spacey guitar work!
'The Sulpfur Highways of Io' flows along nicely with guitar and is very Pink Floyd sounding.
'Untrodden ways' is a totally different kinda folky sounding song, towards the end it goes into manic heavy vocal mode... but works really well.
It kinda reminds me of stuff Mostly Autumn do mix prog with folk.
'Road to darkness' starts off with weird vocals then goes into mellower vocals for chorus. Interesting track.
'The council of Anderson' is another interesting track it is Pink Floyd sounding with quite catchy vocals and lyrics and a nice bit of guitaring that gets faster at end... Again reminds me of Mostly Autumn.
Assorted lunatics' ends the album nicely with weird vocals and echo.
If you like old Prog or even modern Prog, this is a bit of both. A fantastic album with flashes of Pink Floyd, Mostly Autumn, Dream Theater and Porcupine Tree. I love it.
Review by Alan Hare
BRCFP Radio on live 365
opening track "there's no place cyclone" starts of with weird noises that sounds like a jew's harp, it draws you in straight away.
"Emerald eyes" is very Pink Floyd dark side of moon sounding with a nice bit of guitar and female vocals.
'Conjurer of cheap tricks' is a short instrumental which has bit of Wizard of oz in it.
'Into the dark/emerald eyes reprise' is a typical prog-rock track with lots of changes in it...it has mellow vocals and halfway through it goes into heavy guitar playing...great stuff, quite catchy song.
'Twilight at the gates of the prism moon' starts off really spacey then adds more weird noises and turns out quite nice - some spacey guitar work!
'The Sulpfur Highways of Io' flows along nicely with guitar and is very Pink Floyd sounding.
'Untrodden ways' is a totally different kinda folky sounding song, towards the end it goes into manic heavy vocal mode... but works really well.
It kinda reminds me of stuff Mostly Autumn do mix prog with folk.
'Road to darkness' starts off with weird vocals then goes into mellower vocals for chorus. Interesting track.
'The council of Anderson' is another interesting track it is Pink Floyd sounding with quite catchy vocals and lyrics and a nice bit of guitaring that gets faster at end... Again reminds me of Mostly Autumn.
Assorted lunatics' ends the album nicely with weird vocals and echo.
If you like old Prog or even modern Prog, this is a bit of both. A fantastic album with flashes of Pink Floyd, Mostly Autumn, Dream Theater and Porcupine Tree. I love it.
Review by Alan Hare
BRCFP Radio on live 365
Review 4
Artist: Gandalf’s Fist
Album: Road to Darkness
Review by Gary Hill
reviewyou.com
Fans of progressive rock, and particularly Pink Floyd, will find plenty to like here. The hard part would be finding points to criticize. Those who don’t appreciate concept albums or prog rock will never find anything redeeming here, but that’s because they hate all things Yes, Pink Floyd and progressive rock, in general. For everyone else, “Road to Darkness” is an album that combines modern prog with the classic version of the sound in a way that’s unique and entertaining. It’s likely that the album will make the “best of 2011” lists of quite a few progressive rock fans.
The first impressions reveal early Pink Floyd leanings, but really, there’s a lot more here. Fusion and Celtic rock, along with metallic prog, all make appearances. This is a sound that’s as tied to the 21st century as it is to the 1970s. It is a concept album based on “The Wizard of Oz.” All in all, this album will definitely appeal to fans of Pink Floyd. It goes a lot further, though, as the sounds here should be of interest to anyone who enjoys progressive rock, both modern and classic versions of the genre.
On the opener, “No Place Cyclone,” what sounds like a jus harp is heard. It might be keyboards simulating that instrument or the jus harp is being musically reinforced, but it’s an intriguing musical element. Other instrumentation joins after a time and has a mysterious and dramatic tone to it. That extended instrumental serves as the introduction to the album.
“Emerald Eyes” comes in like some lost cut from Pink Floyd’s “Dark Side of the Moon” album with other sections that feel closer to the “Meddle” disc. Still, it does capture a Pink Floyd sound throughout. Some backing female vocals enter later that do a great job of continuing that “Dark Side of the Moon” element. There is a harder edge at times that feels a bit like Radiohead. “Conjurre of Cheap Tricks” even includes some clips of the Wicked Witch from the movie version of “The Wizard of Oz.” It’s overall an instrumental, but there is a spoken voice in the mix.
“Into The Dark (Containing Emerald Eyes Reprise)” leads off with a metallic riff, but as it pounds along more traditional progressive rock elements come in over the top. Around the minute and a half mark it becomes mellower and then the vocals come in over the top. There are hints of Pink Floyd, but this resembles modern progressive rock like Porcupine Tree or Marillion more than it does Floyd. The vocal hook is rather catchy. Past the three and a half mark it shifts out to a pounding, nearly metallic jam. There is an almost Iron Maiden-like riff that comes in after the four minute mark, yet there is still enough progressive rock in the arrangement to keep it from slipping into metal territory. It is a twisting and turning number that’s among the strongest of the set. It does a great job of combining both modern and classic progressive rock leanings.
“Twilight at The Gates of the Prism Moon” starts with spacey sound effects, but as it becomes more “song-like” it is quite fusion oriented. At times the spirit of Hendrix and Satriani seem to be channeled. Satriani is also heard on “The Sulfur Highways of Io,” but melodic progressive rock like Yes or Genesis might also be alluded to. The vocal section is far more in keeping with Pink Floyd references.
Perhaps the most unique cut is “Untrodden Ways.” It opens folk-like with a lot of Celtic leanings bit into the mix. The vocals bring some psychedelia with them, but later it pounds out into a frantic hard-edged jam that resembles the Celtic based progressive rock of Tempest.
The title track starts off tentatively but becomes one of the most dynamic and powerful pieces of the set. There is a lot of Pink Floyd in the arrangement, but some Supertramp shows up, too. They keep rethinking and reinventing the pieces as it continues. “The Council of Anderson” is another that’s quite dynamic. It even features a section that calls to mind a cross between Pink Floyd and The Who. The closing segment has a definite Satriani-like air to it. The disc’s closer, “Assorted Lunatics” has a lot of the Pink Floyd leanings, but there are also hints of Porcupine Tree. It focuses on some reworked themes from other points in the set and serves as a satisfying way to wrap it all up in style.
Review by Gary Hill
Rating: 5 stars (out of 5)
Album: Road to Darkness
Review by Gary Hill
reviewyou.com
Fans of progressive rock, and particularly Pink Floyd, will find plenty to like here. The hard part would be finding points to criticize. Those who don’t appreciate concept albums or prog rock will never find anything redeeming here, but that’s because they hate all things Yes, Pink Floyd and progressive rock, in general. For everyone else, “Road to Darkness” is an album that combines modern prog with the classic version of the sound in a way that’s unique and entertaining. It’s likely that the album will make the “best of 2011” lists of quite a few progressive rock fans.
The first impressions reveal early Pink Floyd leanings, but really, there’s a lot more here. Fusion and Celtic rock, along with metallic prog, all make appearances. This is a sound that’s as tied to the 21st century as it is to the 1970s. It is a concept album based on “The Wizard of Oz.” All in all, this album will definitely appeal to fans of Pink Floyd. It goes a lot further, though, as the sounds here should be of interest to anyone who enjoys progressive rock, both modern and classic versions of the genre.
On the opener, “No Place Cyclone,” what sounds like a jus harp is heard. It might be keyboards simulating that instrument or the jus harp is being musically reinforced, but it’s an intriguing musical element. Other instrumentation joins after a time and has a mysterious and dramatic tone to it. That extended instrumental serves as the introduction to the album.
“Emerald Eyes” comes in like some lost cut from Pink Floyd’s “Dark Side of the Moon” album with other sections that feel closer to the “Meddle” disc. Still, it does capture a Pink Floyd sound throughout. Some backing female vocals enter later that do a great job of continuing that “Dark Side of the Moon” element. There is a harder edge at times that feels a bit like Radiohead. “Conjurre of Cheap Tricks” even includes some clips of the Wicked Witch from the movie version of “The Wizard of Oz.” It’s overall an instrumental, but there is a spoken voice in the mix.
“Into The Dark (Containing Emerald Eyes Reprise)” leads off with a metallic riff, but as it pounds along more traditional progressive rock elements come in over the top. Around the minute and a half mark it becomes mellower and then the vocals come in over the top. There are hints of Pink Floyd, but this resembles modern progressive rock like Porcupine Tree or Marillion more than it does Floyd. The vocal hook is rather catchy. Past the three and a half mark it shifts out to a pounding, nearly metallic jam. There is an almost Iron Maiden-like riff that comes in after the four minute mark, yet there is still enough progressive rock in the arrangement to keep it from slipping into metal territory. It is a twisting and turning number that’s among the strongest of the set. It does a great job of combining both modern and classic progressive rock leanings.
“Twilight at The Gates of the Prism Moon” starts with spacey sound effects, but as it becomes more “song-like” it is quite fusion oriented. At times the spirit of Hendrix and Satriani seem to be channeled. Satriani is also heard on “The Sulfur Highways of Io,” but melodic progressive rock like Yes or Genesis might also be alluded to. The vocal section is far more in keeping with Pink Floyd references.
Perhaps the most unique cut is “Untrodden Ways.” It opens folk-like with a lot of Celtic leanings bit into the mix. The vocals bring some psychedelia with them, but later it pounds out into a frantic hard-edged jam that resembles the Celtic based progressive rock of Tempest.
The title track starts off tentatively but becomes one of the most dynamic and powerful pieces of the set. There is a lot of Pink Floyd in the arrangement, but some Supertramp shows up, too. They keep rethinking and reinventing the pieces as it continues. “The Council of Anderson” is another that’s quite dynamic. It even features a section that calls to mind a cross between Pink Floyd and The Who. The closing segment has a definite Satriani-like air to it. The disc’s closer, “Assorted Lunatics” has a lot of the Pink Floyd leanings, but there are also hints of Porcupine Tree. It focuses on some reworked themes from other points in the set and serves as a satisfying way to wrap it all up in style.
Review by Gary Hill
Rating: 5 stars (out of 5)
Review 5
Review by www.handsoffpromotions.com/
Gandalf's Fist- "Road to Darkness"
Posted on March 19, 2012
One of the best band names I have ever heard has created an album of the likes I have never heard. Gandalf’s Fist is a clever name drenched with science fiction and violent references. The band obviously didn’t pick the name just because it sounded cool but fully embraced it. No other evidence is needed of that than their second album “Road to Darkness.”
“Road to Darkness” is a concept album based on the Wizard of Oz. While there have been many interpretations of the Wizard of Oz, Gandalf’s Fist approaches it from the darker perspective. The most charming aspect of this album is the strong atmosphere it creates. This isn’t an album you simply listen to, you experience it. You play this album with the headphones on and turned up to 11. The album demands it. One of the things I really enjoy about listening to music is the transitions in songs- “Road to Darkness” moves deliberately from song to song, transitioning seamlessly between highs and lows throughout the entire album. And like a good sci-fi movie, “Road to Darkness” is restricted by time, needless filler, genre, or concern for pop-culture.
The album wastes no time setting the tone with “No Place Cyclone” which at first listen reminded me of the rock version of something that might be on the original Ghostbusters soundtrack. “No Place Cyclone” moves into “Emerald Eyes” which really gives you the first glimpse of the full sound of the band, including the first vocals. This song, and the album as a whole, has a resemblance to the sound of Pink Floyd. The vocal effects for this song (and the majority of the album) are identical to that of Pink Floyd’s “Dark Side of the Moon”. The song also has a heavy blues influence and makes good use of synth elements.
The components of the opening two tracks carry throughout the album but are combined with heavier guitar riffs, deep menacing vocals, lots of keys (and additional synth), and even a flute. The tracks that stood out the most for me in the album were “The Sulfur Highway of Io” and “Untrodden Ways.” The fact that these two songs are back to back in the album is not a surprise due how well the album flows. The instrumental, ambient sounds of “Twilight at the Gates” leads the album into the songs signaling a change to something more chaotic than what the album has been previously. “The Sulfur Highway of Io” actually has an uplifting beat with ominous lyrics “Don’t look back the earth is gone/ The darkness fills your eyes.” Obviously this is in the aftermath of the tornado in the Wizard of Oz but it lends several post apocalyptical references as well. “Untrodden Ways” begins innocently enough with a slow celtic lead in with the use of a flute. The use of gaelic chants hints at something unsettling which is finally unleashed in the last minute of the song when they go full Judas Priest. The song finishes with a punishing guitar riff and gruffer vocals than our found anywhere else on the album.
As I was drawn to “Sulfur Highway of Io” and “Untrodden Ways” (as well as the title track “Road to Darkness that has a bad ass synth break down) due to my preference for heavier music many of you are going to be drawn to “The Council of Anderson,” “Conjure of Cheap Tricks,” and “Into the Dark” for the prog elements. This album is a prog album but there is so much to be appreciated. It’s also heavy on keys. The drums are driving at times. The guitars are bluesy throughout. The lyrics are well thought out. This album is enjoyable on its first listen, better on its second, and enthralling after that. Bands like Gandalf’s Fist are why people continue to listen to millions of obscure albums attempting to find something different, something intelligent, and something infinitely better than what gets crammed down their throat by the radio.
Buy this album if you like: Pink Floyd, Dream Theater, Porcupine Tree, Steve Miller Band (mainly due to their use of synths)
Gandalf's Fist- "Road to Darkness"
Posted on March 19, 2012
One of the best band names I have ever heard has created an album of the likes I have never heard. Gandalf’s Fist is a clever name drenched with science fiction and violent references. The band obviously didn’t pick the name just because it sounded cool but fully embraced it. No other evidence is needed of that than their second album “Road to Darkness.”
“Road to Darkness” is a concept album based on the Wizard of Oz. While there have been many interpretations of the Wizard of Oz, Gandalf’s Fist approaches it from the darker perspective. The most charming aspect of this album is the strong atmosphere it creates. This isn’t an album you simply listen to, you experience it. You play this album with the headphones on and turned up to 11. The album demands it. One of the things I really enjoy about listening to music is the transitions in songs- “Road to Darkness” moves deliberately from song to song, transitioning seamlessly between highs and lows throughout the entire album. And like a good sci-fi movie, “Road to Darkness” is restricted by time, needless filler, genre, or concern for pop-culture.
The album wastes no time setting the tone with “No Place Cyclone” which at first listen reminded me of the rock version of something that might be on the original Ghostbusters soundtrack. “No Place Cyclone” moves into “Emerald Eyes” which really gives you the first glimpse of the full sound of the band, including the first vocals. This song, and the album as a whole, has a resemblance to the sound of Pink Floyd. The vocal effects for this song (and the majority of the album) are identical to that of Pink Floyd’s “Dark Side of the Moon”. The song also has a heavy blues influence and makes good use of synth elements.
The components of the opening two tracks carry throughout the album but are combined with heavier guitar riffs, deep menacing vocals, lots of keys (and additional synth), and even a flute. The tracks that stood out the most for me in the album were “The Sulfur Highway of Io” and “Untrodden Ways.” The fact that these two songs are back to back in the album is not a surprise due how well the album flows. The instrumental, ambient sounds of “Twilight at the Gates” leads the album into the songs signaling a change to something more chaotic than what the album has been previously. “The Sulfur Highway of Io” actually has an uplifting beat with ominous lyrics “Don’t look back the earth is gone/ The darkness fills your eyes.” Obviously this is in the aftermath of the tornado in the Wizard of Oz but it lends several post apocalyptical references as well. “Untrodden Ways” begins innocently enough with a slow celtic lead in with the use of a flute. The use of gaelic chants hints at something unsettling which is finally unleashed in the last minute of the song when they go full Judas Priest. The song finishes with a punishing guitar riff and gruffer vocals than our found anywhere else on the album.
As I was drawn to “Sulfur Highway of Io” and “Untrodden Ways” (as well as the title track “Road to Darkness that has a bad ass synth break down) due to my preference for heavier music many of you are going to be drawn to “The Council of Anderson,” “Conjure of Cheap Tricks,” and “Into the Dark” for the prog elements. This album is a prog album but there is so much to be appreciated. It’s also heavy on keys. The drums are driving at times. The guitars are bluesy throughout. The lyrics are well thought out. This album is enjoyable on its first listen, better on its second, and enthralling after that. Bands like Gandalf’s Fist are why people continue to listen to millions of obscure albums attempting to find something different, something intelligent, and something infinitely better than what gets crammed down their throat by the radio.
Buy this album if you like: Pink Floyd, Dream Theater, Porcupine Tree, Steve Miller Band (mainly due to their use of synths)
Review 6
Andrzej Barwicki
www.mlwz.ceti.pl
[Translated from Original Polish]
This musical project joined two friends who, in their music weave various styles and types of 70s progressive rock, metal, and sometimes the sounds of traditional folk music. Our activity started in 2005, Dean Marsh and Luke Severn, along with a few friends who have helped and supported them in the pursuit of the creation and existence in the music. The fruit of their joint work is not yet released album, "The Master And The Monkey" at the end of 2010 and two singles, "Stakes At Low Tide" and "Emerald Eyes" - promoting their latest album "Road To Darkness".
Luke Dean and his inspiration to create music, looking at the literature of science fiction and fantasy, and musically moving in brilliant, fantastic-sounding progressive rock sounds of folk. In his works are not alone. We already know the Roswell Six projects, Ayreon, Par Lindh & Bjorn Johansson, Eureka, Gazpacho, Iron Maiden and many more who take ideas from the literature is fantasy or mythology.
The latest album, Gandalf's Fist , which was released in early July this year, tells the story of a young girl who is moved to an alien world by a cruel sorcerer Io. The musicians on his album combined the modern progrock sound with elements of the classics of the genre, with a gentle Celtic-rock colors, which affects the positive reception of their music. Despite some sound borrowings, which the team used in their songs, making music works closely Pink Floyd, the album is worthy of attention and prompt. I can safely say that with each hearing lasting less than 45 minutes of the disc I was enchanted by this music. Dean Marsh, multi-instrumentalist, has amazing skills in creating climates of this musical story, and Luke Severn is endowed with charming vocals. We appreciate their mastery while listening to this CD.
The album "Road To Darkness" will delight us with their music instrumental values - for composition, as we hear compelling in their simplicity of expression and communication of individual compositions. Plate begins with the instrumental song "No Place Cyclone", which sounds mysterious takes us on a musical story. Another song, "Emerald Eyes''at the first hearing draws us wonderfully played solo, female vocals and acoustic guitar ending. Well, the vocal magic of beauty and mood, when we hear: "... Say Goodbye to me my Friend, Your time has come, You're reached the end your path is long. Your road is far from here, And in a breath of the tempest cried, you left the ground, you rode the sky of the reaper smiles and tosts to your dismay. Will you take me home? Will you let me die or fade away ...? ".
The third composition of the album is instrumental, "Conjurer of Cheap Tricks" with the mysterious sound of the end. Then begins one of the longest track, "Into the Dark'', with a fast instrumental prelude to later slow down the pace, delight us, catchy vocals and progressive metal riffs and muted subject to final passage. It is noteworthy also for the other recordings of the album: "Twilight At The Gates Of The Prism Moon''of a space rock with a disturbing ending," The Sulfur Highways of Io ", psychedelic folk, with a sharp tip," Untrodden Ways ", the title theme, "Road To Darkness" - with a dose of jazz improvisation and processed fusion, throaty vocals changing in beautiful soft singing. This composition contains something of the magic of drama. It should particularly pay attention to this piece. At the end of the remaining two songs: "The Council Of Anderson" - here a lot of interesting guitar sounds create a mood of this composition, and "Assorted Lunatics''-melts in the space of modern progrock, leaving hunger and desire to once again experience this musical adventure with music by Gandalf's Fist.
In summary, "Road To Darkness'', I think that every listener will find progressive composition of the" road''your favorite sounds, which enable him to continue the journey to a world filled with majestic music, which drew a lot of fun will be discovering different, bright and dark corners of the land, to which we invite progressive wizards and Severn Marsh. I hope that the next proposal plate Gandalf's Fist will be equally good, compelling, full of amazing adventures and fantasies, as all lovers of the music and the same wish.
www.mlwz.ceti.pl
[Translated from Original Polish]
This musical project joined two friends who, in their music weave various styles and types of 70s progressive rock, metal, and sometimes the sounds of traditional folk music. Our activity started in 2005, Dean Marsh and Luke Severn, along with a few friends who have helped and supported them in the pursuit of the creation and existence in the music. The fruit of their joint work is not yet released album, "The Master And The Monkey" at the end of 2010 and two singles, "Stakes At Low Tide" and "Emerald Eyes" - promoting their latest album "Road To Darkness".
Luke Dean and his inspiration to create music, looking at the literature of science fiction and fantasy, and musically moving in brilliant, fantastic-sounding progressive rock sounds of folk. In his works are not alone. We already know the Roswell Six projects, Ayreon, Par Lindh & Bjorn Johansson, Eureka, Gazpacho, Iron Maiden and many more who take ideas from the literature is fantasy or mythology.
The latest album, Gandalf's Fist , which was released in early July this year, tells the story of a young girl who is moved to an alien world by a cruel sorcerer Io. The musicians on his album combined the modern progrock sound with elements of the classics of the genre, with a gentle Celtic-rock colors, which affects the positive reception of their music. Despite some sound borrowings, which the team used in their songs, making music works closely Pink Floyd, the album is worthy of attention and prompt. I can safely say that with each hearing lasting less than 45 minutes of the disc I was enchanted by this music. Dean Marsh, multi-instrumentalist, has amazing skills in creating climates of this musical story, and Luke Severn is endowed with charming vocals. We appreciate their mastery while listening to this CD.
The album "Road To Darkness" will delight us with their music instrumental values - for composition, as we hear compelling in their simplicity of expression and communication of individual compositions. Plate begins with the instrumental song "No Place Cyclone", which sounds mysterious takes us on a musical story. Another song, "Emerald Eyes''at the first hearing draws us wonderfully played solo, female vocals and acoustic guitar ending. Well, the vocal magic of beauty and mood, when we hear: "... Say Goodbye to me my Friend, Your time has come, You're reached the end your path is long. Your road is far from here, And in a breath of the tempest cried, you left the ground, you rode the sky of the reaper smiles and tosts to your dismay. Will you take me home? Will you let me die or fade away ...? ".
The third composition of the album is instrumental, "Conjurer of Cheap Tricks" with the mysterious sound of the end. Then begins one of the longest track, "Into the Dark'', with a fast instrumental prelude to later slow down the pace, delight us, catchy vocals and progressive metal riffs and muted subject to final passage. It is noteworthy also for the other recordings of the album: "Twilight At The Gates Of The Prism Moon''of a space rock with a disturbing ending," The Sulfur Highways of Io ", psychedelic folk, with a sharp tip," Untrodden Ways ", the title theme, "Road To Darkness" - with a dose of jazz improvisation and processed fusion, throaty vocals changing in beautiful soft singing. This composition contains something of the magic of drama. It should particularly pay attention to this piece. At the end of the remaining two songs: "The Council Of Anderson" - here a lot of interesting guitar sounds create a mood of this composition, and "Assorted Lunatics''-melts in the space of modern progrock, leaving hunger and desire to once again experience this musical adventure with music by Gandalf's Fist.
In summary, "Road To Darkness'', I think that every listener will find progressive composition of the" road''your favorite sounds, which enable him to continue the journey to a world filled with majestic music, which drew a lot of fun will be discovering different, bright and dark corners of the land, to which we invite progressive wizards and Severn Marsh. I hope that the next proposal plate Gandalf's Fist will be equally good, compelling, full of amazing adventures and fantasies, as all lovers of the music and the same wish.
Review 7
I was surprised to find out that Gandalf’s Fist, wasn’t a metal band. Those metal bands certainly do love their Tolkien. But alas, Gandalf’s Fist is a progressive rock band often reminiscent of Pink Floyd.
Gandalf’s Fist, comprised of Dean (Musics and Generic Warbling) and Luke (Song-writing and Wizard Impressions), released The Master and the Monkey earlier this year. A jam session from that recording led to the creation of their latest release, Road to Darkness. The concept behind the Road to Darkness is a re-imagining of The Wonderful Wizard of Oz by Lyman Frank Baum (how Floyd of them) in which a girl is transported to an alien world by an evil sorcerer. Would you know all of this by listening to it? You certainly get hints to it while listening and by song title, but now you can better picture it as you listen I suppose.
What Gandalf’s does here is reminiscent of Floyd of course, but much of the album is instrumental, which works more for me on most of these tracks. There are some tracks that vary and rock more than older Floyd though. A few of them do have more of a modern prog-rock sound. Really, that element mostly happens with the spacey vocals, so that is why I prefer more of the instrumentals. That said I do feel that there was just a little too much instrumental music for my taste, although those that prefer it will surely find it satisfying.
I generally prefer to have an album be all or nothing, and here it’s about 50/50. It is a nice variation from song to song, and the theme certainly helps that along through Road to Darkness. Like most prog-rock, it does have some moments that are a bit weirder (as to be expected with this concept) than your usual pop/rock. This will likely turn some listeners off, but again it is to be expected with this genre.
The bottom line is, if you’re down with the concept of Road to Darkness works for you and you’re into Pink Floyd influenced music and prog-rock, this album is a good choice. It’s got some fun bits to it, and the more you listen to it, the more you can feel and get into the idea of it. If that doesn’t interest you, it will come off a bit strange. I generally fall somewhere in the middle on this one. At times I enjoyed the idea, others I felt it went a little too far and became more artistic than entertaining. Still, Gandalf’s Fist, has put together a creative and interesting release, and most impressively, very quickly after their previous output. It will be interesting to see if they can continue this wave of creativity.
3.5/5
Key Tracks: Emerald Eyes, Into the Dark (Containing Emerald Eyes Reprise), Untrodden Ways
Review by Kevin Kozel
Sr. MuzikReviews.com Staff
Gandalf’s Fist, comprised of Dean (Musics and Generic Warbling) and Luke (Song-writing and Wizard Impressions), released The Master and the Monkey earlier this year. A jam session from that recording led to the creation of their latest release, Road to Darkness. The concept behind the Road to Darkness is a re-imagining of The Wonderful Wizard of Oz by Lyman Frank Baum (how Floyd of them) in which a girl is transported to an alien world by an evil sorcerer. Would you know all of this by listening to it? You certainly get hints to it while listening and by song title, but now you can better picture it as you listen I suppose.
What Gandalf’s does here is reminiscent of Floyd of course, but much of the album is instrumental, which works more for me on most of these tracks. There are some tracks that vary and rock more than older Floyd though. A few of them do have more of a modern prog-rock sound. Really, that element mostly happens with the spacey vocals, so that is why I prefer more of the instrumentals. That said I do feel that there was just a little too much instrumental music for my taste, although those that prefer it will surely find it satisfying.
I generally prefer to have an album be all or nothing, and here it’s about 50/50. It is a nice variation from song to song, and the theme certainly helps that along through Road to Darkness. Like most prog-rock, it does have some moments that are a bit weirder (as to be expected with this concept) than your usual pop/rock. This will likely turn some listeners off, but again it is to be expected with this genre.
The bottom line is, if you’re down with the concept of Road to Darkness works for you and you’re into Pink Floyd influenced music and prog-rock, this album is a good choice. It’s got some fun bits to it, and the more you listen to it, the more you can feel and get into the idea of it. If that doesn’t interest you, it will come off a bit strange. I generally fall somewhere in the middle on this one. At times I enjoyed the idea, others I felt it went a little too far and became more artistic than entertaining. Still, Gandalf’s Fist, has put together a creative and interesting release, and most impressively, very quickly after their previous output. It will be interesting to see if they can continue this wave of creativity.
3.5/5
Key Tracks: Emerald Eyes, Into the Dark (Containing Emerald Eyes Reprise), Untrodden Ways
Review by Kevin Kozel
Sr. MuzikReviews.com Staff