The Round Window – Everywhere & Nowhere
Everywhere & Nowhere, the second album from Essex based quintet The Round Window, has taken the atmospheric widescreen soft-rock meets melodic (neo)prog of last year’s self-titled debut album as its lead, but shaped into a more focussed collection of songs.
While the debut sounded like a collection of (impressive and lyrically thoughtful) songs from emotive vocalist and songwriter Rich Lock, assisted by his youngest son Thomas (keys, vocals) and enhanced by the talents of elder Lock son Jack (drums), David Brazington (guitars) and Dietmar Schantin (bass), Everywhere & Nowhere sounds like a full band album with added textures.
Everyone has something to say, and knows when to say it.
There's also a focus on what is clearly themed (but not conceptual) lyricism, deliberating on (or questioning) the likes of duality and conflict (a snapshot of the times we live in), but with hope and optimism to the fore.
That this is a band firing on all five musical cylinders is apparent right from the get-go on eleven-minute opener 'The Tides.'
Much like its title, 'The Tides' has continual ebb and flow, with a stronger undercurrent than may first be perceived.
The song also sports excellent use of dynamics, from the feel-good, up-tempo intro and follow-on weightier section to a more delicate second half (led by a lovely piano refrain) that reminds of earlier/ folkier Renaissance and Illusion, interspersed with a pacier section and a great solo from David Brazington.
Lyrically, Rich Lock is almost channeling the tortured but gifted writer chained to his typewriter (or keyboard), before celebrating the power (after the frustration of "a mocking empty page" and "waiting for Calliope to take my hand") of the written word.
'The Tides' is a hard act to follow, but the band don’t so much follow it as complement it with seven other songs that reinforce what Rich Lock, as a singer & songwriter, and The Round Window, are all about, typified by the title track, a lovely, wistful slice of soft-rock prog (with a side of electric folk).
While the debut sounded like a collection of (impressive and lyrically thoughtful) songs from emotive vocalist and songwriter Rich Lock, assisted by his youngest son Thomas (keys, vocals) and enhanced by the talents of elder Lock son Jack (drums), David Brazington (guitars) and Dietmar Schantin (bass), Everywhere & Nowhere sounds like a full band album with added textures.
Everyone has something to say, and knows when to say it.
There's also a focus on what is clearly themed (but not conceptual) lyricism, deliberating on (or questioning) the likes of duality and conflict (a snapshot of the times we live in), but with hope and optimism to the fore.
That this is a band firing on all five musical cylinders is apparent right from the get-go on eleven-minute opener 'The Tides.'
Much like its title, 'The Tides' has continual ebb and flow, with a stronger undercurrent than may first be perceived.
The song also sports excellent use of dynamics, from the feel-good, up-tempo intro and follow-on weightier section to a more delicate second half (led by a lovely piano refrain) that reminds of earlier/ folkier Renaissance and Illusion, interspersed with a pacier section and a great solo from David Brazington.
Lyrically, Rich Lock is almost channeling the tortured but gifted writer chained to his typewriter (or keyboard), before celebrating the power (after the frustration of "a mocking empty page" and "waiting for Calliope to take my hand") of the written word.
'The Tides' is a hard act to follow, but the band don’t so much follow it as complement it with seven other songs that reinforce what Rich Lock, as a singer & songwriter, and The Round Window, are all about, typified by the title track, a lovely, wistful slice of soft-rock prog (with a side of electric folk).
Contrast is then provided by 'All Roads Lead Home,' lyrically reflecting on adulation of the past ("the echoes of old applause withered on the vine").
The song, which features a repeated choral cry of the title as it nears its conclusion, proves yet again that it’s possible to have beautiful melody and yearning melancholy as comfortable bedfellows.
'Resist' is an up-tempo number with an entrancing, soul-groove (courtesy of Dietmar Schantin and Jack Lock) and some great saxophone from guest player Peter Jones (which, by beautiful accident or cheeky design, sounds in places like John Helliwell's sax-lines on Supertramp's 'Breakfast in America').
'Holes' then builds from a beautiful and atmospheric opening before settling into a mid-tempo groove, where little synth lines flit around the edges and the occasional power chord adds weight before voice, piano and synth backing close out the number.
'Ghosts,' rather appropriately, has a haunting melancholy to both its structure and lyricism ("pass them in the hallways, echoes of the past").
It could also be described as the album’s (heavy) ballad moment, one that features a melodically crying solo from David Brazington toward the song’s end before concluding, fittingly, on melancholic piano.
The Round Window’s musical modus operandi, to create widescreen/ progressive music that can be deeply moving and melancholic yet also powerful and melodic, all coalesce on penultimate, near-nine minute number 'Parabellum.'
From war drum intro and poignant piano & vocal follow-on ("darkened skies, silent night, fear is at the door"), leading to a short but powerful, crying-in-melodic-anguish solo from David Brazington, 'Parabellum' is as moving as it is, sadly, current, lyrically reinforcing the meaning of its title: the more we strive for peace, the more we should "prepare for war" and draw the battle lines.
'Epilogue' couldn’t be anywhere but at the end of the album, and not just because of the title.
While not overly similar to Genesis classic 'Afterglow,' you cannot help but make that comparison – both are deeply moving, atmospheric sign-off moments with glorious finales (in the case of 'Epilogue' via a beautiful solo from David Brazington).
'Epilogue' also features Rich Lock's best, and most important, line of the entire album, an absolute life truth: "What remains is not why or where, but who and how you were."
Aside from the strength of both the songs and performances, mention must be made of Robin Armstrong's production, mixing and mastering.
Armstrong, who also plays some additional keyboard parts, has done his aural homework; as with the debut album, he knows exactly how this band should sound, and he’s brought out the best in them.
Everywhere & Nowhere. Enlightening & Notable.
Ross Muir
FabricationsHQ
Everywhere & Nowhere will be released on December 8th
CD: www.gravitydream.co.uk/shop
Digital Download: https://theroundwindow.bandcamp.com/album/everywhere-nowhere
The song, which features a repeated choral cry of the title as it nears its conclusion, proves yet again that it’s possible to have beautiful melody and yearning melancholy as comfortable bedfellows.
'Resist' is an up-tempo number with an entrancing, soul-groove (courtesy of Dietmar Schantin and Jack Lock) and some great saxophone from guest player Peter Jones (which, by beautiful accident or cheeky design, sounds in places like John Helliwell's sax-lines on Supertramp's 'Breakfast in America').
'Holes' then builds from a beautiful and atmospheric opening before settling into a mid-tempo groove, where little synth lines flit around the edges and the occasional power chord adds weight before voice, piano and synth backing close out the number.
'Ghosts,' rather appropriately, has a haunting melancholy to both its structure and lyricism ("pass them in the hallways, echoes of the past").
It could also be described as the album’s (heavy) ballad moment, one that features a melodically crying solo from David Brazington toward the song’s end before concluding, fittingly, on melancholic piano.
The Round Window’s musical modus operandi, to create widescreen/ progressive music that can be deeply moving and melancholic yet also powerful and melodic, all coalesce on penultimate, near-nine minute number 'Parabellum.'
From war drum intro and poignant piano & vocal follow-on ("darkened skies, silent night, fear is at the door"), leading to a short but powerful, crying-in-melodic-anguish solo from David Brazington, 'Parabellum' is as moving as it is, sadly, current, lyrically reinforcing the meaning of its title: the more we strive for peace, the more we should "prepare for war" and draw the battle lines.
'Epilogue' couldn’t be anywhere but at the end of the album, and not just because of the title.
While not overly similar to Genesis classic 'Afterglow,' you cannot help but make that comparison – both are deeply moving, atmospheric sign-off moments with glorious finales (in the case of 'Epilogue' via a beautiful solo from David Brazington).
'Epilogue' also features Rich Lock's best, and most important, line of the entire album, an absolute life truth: "What remains is not why or where, but who and how you were."
Aside from the strength of both the songs and performances, mention must be made of Robin Armstrong's production, mixing and mastering.
Armstrong, who also plays some additional keyboard parts, has done his aural homework; as with the debut album, he knows exactly how this band should sound, and he’s brought out the best in them.
Everywhere & Nowhere. Enlightening & Notable.
Ross Muir
FabricationsHQ
Everywhere & Nowhere will be released on December 8th
CD: www.gravitydream.co.uk/shop
Digital Download: https://theroundwindow.bandcamp.com/album/everywhere-nowhere