SiX BY SiX – Beyond Shadowland
In review of the self-titled debut album from SiX BY SiX, featuring the talents of singer & multi-instrumentalist Robert Berry, guitarist Ian Crichton and drummer Nigel Glockler, FabricationsHQ commented that it was "an exceptional album by an extremely talented and clearly simpatico trio... a creative blend of contemporary hard rock and prog."
Indeed the band could have been forgiven for walking away after that debut to let it sit proudly as a highly accomplished one-off, featuring some of the best work* each of the trio has ever laid down.
(*Given Nigel Glockler’s drumming/ Saxon credentials, Ian Crichton’s pivotal role in Canadian prog band SAGA and Robert Berry’s storied career (Hush, GTR, Alliance, Greg Kihn Band, 3 with Keith Emerson & Carl Plamer, a clutch of excellent solo albums including the acclaimed 3:2 brace), that comment may have raised an eyebrow or two, but it’s an accurate one).
But such was the simpatico and musical bond between the three musicians (unified in musical chemistry, creativity and friendship) there was little chance of calling it a debut album day (underlined by the fact this is a three album deal, minimum).
Reconvening in 2023 at Robert Berry’s Soundtek studio in the Bay Area of California to have at it once again, the band have delivered sophomore release Beyond Shadowland, an album that takes its lead from the debut but rocks a heavier edge as well as stretching the sonic shapes and subtleties of its predecessor.
The main ingredients are the same – Ian Crichton, one of the most angular yet melodic players in the business, passed snippets of ideas, from riffs to middle 8 sequences, to Robert Berry, who added verses, melodies and a loosely themed narrative/ lyrics based around cause and/or effect (how to move forward and stay positive whilst acknowledging, but never living in, the past).
Nigel Glockler, who was also involved in song ideas (this is a collaborative work in every sense), is the percussive glue binding it all together, with some trademark powerhouse drumming and some inventive rhythm patterns.
Opener 'Wren' is the sum of all the above parts; a rhythmic, modern rocker with staccato sequences and a lyric about enjoying life to its fullest. The song features some wonderfully bent out of (and back into) shape six-string lines from Ian Crichton as well as a delicate middle 8 that’s beautifully off-kilter, yet melodically on-point (a neat trick in itself).
There’s an anger, and powerful rock-metal verve (the verses sit right on the edge of distortion) at the core of 'The Arms of a Word,' which lyrically decries the division created by the modern media evil that is fake news and click bait.
This is SiX BY SiX at their edgiest and heaviest, raising both their game and the amps to 11.
Indeed the band could have been forgiven for walking away after that debut to let it sit proudly as a highly accomplished one-off, featuring some of the best work* each of the trio has ever laid down.
(*Given Nigel Glockler’s drumming/ Saxon credentials, Ian Crichton’s pivotal role in Canadian prog band SAGA and Robert Berry’s storied career (Hush, GTR, Alliance, Greg Kihn Band, 3 with Keith Emerson & Carl Plamer, a clutch of excellent solo albums including the acclaimed 3:2 brace), that comment may have raised an eyebrow or two, but it’s an accurate one).
But such was the simpatico and musical bond between the three musicians (unified in musical chemistry, creativity and friendship) there was little chance of calling it a debut album day (underlined by the fact this is a three album deal, minimum).
Reconvening in 2023 at Robert Berry’s Soundtek studio in the Bay Area of California to have at it once again, the band have delivered sophomore release Beyond Shadowland, an album that takes its lead from the debut but rocks a heavier edge as well as stretching the sonic shapes and subtleties of its predecessor.
The main ingredients are the same – Ian Crichton, one of the most angular yet melodic players in the business, passed snippets of ideas, from riffs to middle 8 sequences, to Robert Berry, who added verses, melodies and a loosely themed narrative/ lyrics based around cause and/or effect (how to move forward and stay positive whilst acknowledging, but never living in, the past).
Nigel Glockler, who was also involved in song ideas (this is a collaborative work in every sense), is the percussive glue binding it all together, with some trademark powerhouse drumming and some inventive rhythm patterns.
Opener 'Wren' is the sum of all the above parts; a rhythmic, modern rocker with staccato sequences and a lyric about enjoying life to its fullest. The song features some wonderfully bent out of (and back into) shape six-string lines from Ian Crichton as well as a delicate middle 8 that’s beautifully off-kilter, yet melodically on-point (a neat trick in itself).
There’s an anger, and powerful rock-metal verve (the verses sit right on the edge of distortion) at the core of 'The Arms of a Word,' which lyrically decries the division created by the modern media evil that is fake news and click bait.
This is SiX BY SiX at their edgiest and heaviest, raising both their game and the amps to 11.
'Can’t Live Like This' is a wholly contemporary work that flits from impacting, heavier passages to lighter shades, whilst lyrically underlining that following one’s instincts is the way forward.
(It's also a number that reinforces the band's musical modus operandi, to continually push rhythmic boundaries and dare to be that little bit different).
'Obiliex,' a downtempo number with an almost ethereal groove, a stark but striking solo from Ian Crichton and some interesting bass lines from Robert Berry, plays in musical contrast to 'Can’t Live Like This.'
It does however act as a lyrical sequel (accepting you must leave the past behind) while also considering a space-faring future ("floating through space we glide to the heavens, finding our way round and around this prison’s escape…")
'Only You Can Decide' drops the tempo further to provide a lovely Hackett/ Genesis acoustic moment; as such it acts as a contemplative, mid-album interlude to the heavier vibe of the album.
The marching "oom pop-pop!" chant of 'Titans' sets up a song that is unsettling and downright weird in places yet utterly compelling and captivating, primarily by mixing the band’s aforementioned off-kilter style with synth rhythms (another trait), eastern motifs and a modern alt-rock Zeppelin.
The problem is you are so caught up (or caught out) by what’s going on musically that the lyric (a nod to the 'silent warriors' of society – the inventors, the teachers, the influencers) gets lost in the "oom, pop-pop" shuffle (an earworm you’ll be hard pushed to not be shouting out yourself).
'Outside Looking In' mixes rhythmic passages that house a lyric about how others may see us with big-beat rock sections and a hook chorus; as such it’s one of the most accessible songs on the album.
Rhythmic groove meeting hard rock also frames 'Spectre,' which features some great drum work from Nigel Glockler. The sheer muscle of the song, along with those trademark angular guitar phrases from Ian Crichton, make this another winner.
'Sympathise,' which carries lyrical duality (the pitying and caring sides of sympathy) is the 'classic rock' song of the album, albeit SiX BY SiX style, with rhythmic shifts, some nifty bass work (and a great rock vocal) from Robert Berry and little organ keyboard flourishes that accentuate its 'Kill The King' vibe.
The eight-minute, progressively sculpted 'One Step' is the feature piece of the album.
From its light and shade opening, Robert Berry sets the lyrical scene of misplaced trust (someone being the exact opposite of who you thought they were) before the song takes a darker turn, which fits the lyric perfectly.
The number then settles into a forlorn piano section before picking back up to a weightier and powerful tempo-shifting second half, with Berry delivering the final words behind a wall of sound ("one word, one word, I trusted you; buried the knife like you always did… one step down the ladder").
'The Mission' concludes the album in powerfully uplifting fashion, mixing a lyrical clarion call to unlock your hopes and dreams with hooky, hard rock par excellence.
It's also a song that owes more to the sound of Robert Berry’s acclaimed 3:2 work than SiX BY SiX (those familiar with the 3:2 albums will, at one point, be sure 'The Mission' is going to morph into outstanding 3:2 song, 'A Fond Farewell').
There is no question Beyond Shadowland is not as immediately accessible as the debut album, to the degree that some rock & prog fans may find it too angular and off-kilter.
However, for those that take the deeper dive, you’ll appreciate the creative artistry of a trio delivering a sonically adventurous work.
Go on, roll those dice, and see if they don’t come up SiXes. Again.
Ross Muir
FabricationsHQ
(It's also a number that reinforces the band's musical modus operandi, to continually push rhythmic boundaries and dare to be that little bit different).
'Obiliex,' a downtempo number with an almost ethereal groove, a stark but striking solo from Ian Crichton and some interesting bass lines from Robert Berry, plays in musical contrast to 'Can’t Live Like This.'
It does however act as a lyrical sequel (accepting you must leave the past behind) while also considering a space-faring future ("floating through space we glide to the heavens, finding our way round and around this prison’s escape…")
'Only You Can Decide' drops the tempo further to provide a lovely Hackett/ Genesis acoustic moment; as such it acts as a contemplative, mid-album interlude to the heavier vibe of the album.
The marching "oom pop-pop!" chant of 'Titans' sets up a song that is unsettling and downright weird in places yet utterly compelling and captivating, primarily by mixing the band’s aforementioned off-kilter style with synth rhythms (another trait), eastern motifs and a modern alt-rock Zeppelin.
The problem is you are so caught up (or caught out) by what’s going on musically that the lyric (a nod to the 'silent warriors' of society – the inventors, the teachers, the influencers) gets lost in the "oom, pop-pop" shuffle (an earworm you’ll be hard pushed to not be shouting out yourself).
'Outside Looking In' mixes rhythmic passages that house a lyric about how others may see us with big-beat rock sections and a hook chorus; as such it’s one of the most accessible songs on the album.
Rhythmic groove meeting hard rock also frames 'Spectre,' which features some great drum work from Nigel Glockler. The sheer muscle of the song, along with those trademark angular guitar phrases from Ian Crichton, make this another winner.
'Sympathise,' which carries lyrical duality (the pitying and caring sides of sympathy) is the 'classic rock' song of the album, albeit SiX BY SiX style, with rhythmic shifts, some nifty bass work (and a great rock vocal) from Robert Berry and little organ keyboard flourishes that accentuate its 'Kill The King' vibe.
The eight-minute, progressively sculpted 'One Step' is the feature piece of the album.
From its light and shade opening, Robert Berry sets the lyrical scene of misplaced trust (someone being the exact opposite of who you thought they were) before the song takes a darker turn, which fits the lyric perfectly.
The number then settles into a forlorn piano section before picking back up to a weightier and powerful tempo-shifting second half, with Berry delivering the final words behind a wall of sound ("one word, one word, I trusted you; buried the knife like you always did… one step down the ladder").
'The Mission' concludes the album in powerfully uplifting fashion, mixing a lyrical clarion call to unlock your hopes and dreams with hooky, hard rock par excellence.
It's also a song that owes more to the sound of Robert Berry’s acclaimed 3:2 work than SiX BY SiX (those familiar with the 3:2 albums will, at one point, be sure 'The Mission' is going to morph into outstanding 3:2 song, 'A Fond Farewell').
There is no question Beyond Shadowland is not as immediately accessible as the debut album, to the degree that some rock & prog fans may find it too angular and off-kilter.
However, for those that take the deeper dive, you’ll appreciate the creative artistry of a trio delivering a sonically adventurous work.
Go on, roll those dice, and see if they don’t come up SiXes. Again.
Ross Muir
FabricationsHQ