3. March. Prog/Metal Month

Prog/Metal Month

Stephen - Lemmy (Lemmy Lemmy)

Though this is fairly ‘lo-fi’ it is perfect and has a real ‘prog rock’ feel (as though it were recorded at the birth of ‘prog’.

I found myself smiling both at the lyrics and at the memory of Lemmy. I think, if he were alive today, he’d say it was ‘Fookin’ sh*t’ (he’d say that about most things) but I absolutely loved it.

I’d also forgotten that he was in Hawkwind (a band that I saw perform at the Ipswich Gaumont in 1980)


Tim W - You dropped the ball, John Paul

Tim (like me) takes these things quite seriously (genres/styles of music) and likes to understand what makes things sound the way they do.

I am again left open-mouthed. I would encourage you all to go back to April 2014 and listen to Tim’s first offering and then listen to this. The progression is staggering and this is not only a really powerful tune, beautifully played, but the way he’s thought through and constructed his lyrics is really amazing given that he, like me, doesn’t really ‘do’ lyrics. This is clever, witty and really, really catchy. Plus, you’re going to hell!!! At least you don’t (yet) have a Fatwah hanging over you. Maybe that’s next month?


Colin P - Heavy Metal Sirens

A welcome return to Colin!

When this songs starts the sound was like a homage to George Harrison’s ‘My Sweet Lord’. After the sweet sound of the acoustic guitar, there are some subtle and discordant keyboards and then the overdriven guitars start, and any similarity ended.

I initially thought that this was the longest introduction in the history of the SWC but, ever the surprise package, Colin decided to make this an instrumental.

The melody and feel reminded me very much of some instrumental work that I did with a bunch of friends ‘back in the day’ so I really enjoyed it. But some of the charm of our forays into electro-pop instrumentals was the ‘programmed’ keyboard bass-lines etc and I feel that, in some ways (and even though it was one of the ‘drivers’ of your song) the very rigidly programmed bass-line got in the way of truly believing and relaxing into the song. I don’t know if you have a bass, but I would dust it off and plug it in because real instruments (played with reasonable proficiency) can really help.

That said, the programmed drums were excellent and the overall feel was great. As an aside, as soon as I heard it and realised it was an instrumental, I was singing ‘Heavy Metal Sirens…da da da da…’ As I’ve mentioned before, if you need a singer or co-writer, I’m happy to try (and you know how good I am with lyrics!!)

Thanks again for coming back into the fold.


Tim and Glynn - Harder to Hide from Yourself

I was expecting great things from ‘the hit factory’ that is Tim & Glynn. And I don’t think you’ve disappointed here. Obviously, I’ve heard of Genesis (“No?!?!” I hear you cry) but I have no clue who ‘Queens of the Stone Age’ are. Putting influences aside (though I loved the rotary/hammond organ near the end of the song - that was VERY Genesis) this is just another really good song.

Great verse, spectacular chorus and I love the ‘drop down’ middle section with the building and intertwining melodies.


Phil S - i skugganum

Phil’s gone full ‘husk’ this month. Having met him at the Cross-Country in Ipswich, this is not by design! The poor lad is suffering. But I think Phil should be ill more often both for reasons of ‘poor’ performance on the ‘track’ - I beat him probably for the last time this year! - and for the sound it puts at his disposal.

Phil - the human metronome - gives this the ⅞ treatment which he must find quite boring after last month’s time signature conundrum.

I really, really enjoyed the song and the overall sound is improving and evolving. I particularly enjoyed the multiple voices at the end. Again, it reminded me of stuff from yesteryear but displayed Phil’s abilities as a guitarist (maximum shredding) and in being able to put together a tune.

Finnish??? I didn’t really understand the connection between the title (and blurb) and what appeared to be the subject matter of the song. I have just finished a book see in East Germany in the 1970s by David Young and the Stasi feature heavily and informants abound; their eyes and ears everywhere. This song felt as though it were could be the title track of the movie of the book. Please tell me more when/if you write a review.

The bottom line? I really, really enjoyed this one a lot more than the almost impenetrable effort last month.


Christian D - The Bastards of Love

Both Christian and Stephen C have the ability to make me laugh just by the titles of their songs.

Christian appears incapable of writing songs that don’t have great melodies and brilliant chord progressions (and I’m afraid you’re fooling no-one that this is ‘Metal’. You have ‘pop’ written right through your core, Christian, just like a stick of Rock, which is ironic!)

Whichever way you cut it, this is just a great, great song from the beginning to the very end. If I say anything else, I’d just be repeating myself. Well done.

Stephen Clarke - Lemmy, Lemmy, Lemmy


Excellent mock ‘Ace of Spades’ bass and drum intro at the beginning and a neat line later that it’s a ‘shame he didn’t live long enough to sing about the other cards.’

I’ve got a soft spot for Lemmy ever since he signed my jeans – and my mate’s stomach – during a soundcheck the night before a gig at the Stafford Bingley Hall round 1979. I think he would have approved of this skiffle metal song. There’s a good chorus here and the spirit of Lemmy’s crazy lifestyle is captured nicely in the lyrics about him being scared of catching sexually transmitted diseases, and not taking any music lessons.

There’s a real energy to the whole thing, which is an achievement considering there’s Stephen plays the homemade drumkit. I like the odd guitar solo at 1.10 and the song is just the right length. No poodle metal here - it’s the real deal.



Tim Warner – You Dropped the Ball, John Paul


This bravura writing and performing from Tim; metal at its best. A savage guitar riff kicks things off and there’s a great chorus. There are three mini-sections before the bridge, and all are excellently put together. I like the sudden outbreak of church organ in the bridge, evoking religious imagery, giving way to a hellish (in a good way) guitar break. There are strong lyrics about the terrible failures of the Catholic church under Jean-Paul the Second in handling the paedophile priests scandal. I think the title is a reference to the fact that Jean-Paul was a decent goalkeeper (yes, really), hence the inspired reference to dropping the ball. This is clever stuff lyrically. There’s a sparkling production, with the vocals riding comfortably over the fearsome guitars, and the playing is very tight. It gives us a jolt - like the great heavy metal songs should do. I like the bass - it’s not doing anything spectacular bit knits everything together really well.

Although its laden with metaphors: apples, plants (bud nipping), balls, chess, a rug etc there are no false notes and Tim’s admission that he’s not written hard rock before is a surprise; he sounds like a veteran. Another strength is that It’s not a pastiche – it’s a good narrative, a bit scary and laced with power; respecting the genre, but at the same time giving it a good shake. Brilliant stuff – a new high.



Colin Parish - Heavy Metal Sirens


Great to have you back Colin - please stay and write more. Terrific title, a bit Spinal Tap with its double meaning linking crime and Greek mythology. The entrance of the guitar at 0.25 is excellent, as is the slurred synth/guitar? starting at 1.07. Why not stick some singing in? This has the makings of a good song. Your production sounds so clear and effective here, as good as anybody’s this month. Treat us to a song about drinking next month?

Tim and Glynn – Harder to Hide from Yourself

T and G have come up with another strong melody. They’ve built a fine production for a song that’s stuffed with ideas. The vocal gymnastics by Glynn on the chorus are a highlight and urgency is created with the economic but effective stabs on the guitar. It’s nice to hear Tim’s silky vocals again, which gel beautifully with Glynn’s in the bridge at the back end of the song. It’s courageously long, but never outstays its welcome. In fact it begins to to feel quite epic by the end - this is the confidence that comes with a run of quality, ambitious songs in recent months.

I’m not sure it really evokes a mood of progressive rock or heavy metal but that doesn’t matter - it’s an excellent song all the same. Keep them coming.





Phil Sanderson - i skugganum


I couldn’t quite digest the blurb, although I did work out from these notes though that the song’s in 7/8 and has some guitar.

This is more disturbia from Phil, evoking his mad professors, torturers and fractured relationships from previous songs, only this time in the form of surveillance by the bad guys. Paranoia and fear are common themes in Phil’s work. ‘Hiding in the shadows, their names remain unknown, no-one has suspected their presence in your home…’ It’s all very sinister but it fits Phil’s musical gifts. This is a very melodic and atmospheric production and a thoroughly enjoyable experience. There are loads of highlights; a lovely sweep of harmony vocals on 1.33, the tune behind ‘watching every move you make, keeping tabs on things you say.’ The bass is neatly played too. He’s certainly fulfilled the prog rock brief - taking his music to a place where most other composers would fear to tread. I applaud his ambition – this isn’t a song that’s been knocked off in ten minutes. Inspired.



Rob Warner - Don’t Go (Stay)

Rob’s delivered a very nice opening with the dreamy synth and some interesting chords emerging before the second section that introduces the guitar. I like the way he really pushes his vocal round the 1.30 mark. It’s a good prog tune in that there’s very little repetition, plenty of twists and turns in just two minutes, and some unusual parts. All this despite being built around four chords for much of the song. The wailing guitar is very effective and the bisors are a suitable enemy in this fantasy world. Sounds like a ‘four legs bad, two legs good’ sort of place, a bit like Walthamstow, where the foxes are not flavour of the month. I’d be intrigued to hear more about Rail but I fear that Rob may keep it in reserve. A good piece of work.

Sorry, no time for detailed comments this month - I am sailing to the channel islands for work today and still need to pack. I have voted though.
It's good to see Colin back. A varied bunch this month with some stand out songs, two of which were very good without really falling in to either the metal or prog camps. But, as Tim says, who cares if they're good!
Special mention to Tim for the production on "You Dropped The Ball, John Paul".

Hard to pick a winner, I found, because we interpreted the mission so differently. I tried to go for out and out headbanging, which might not have worked because personally I get a headache if I nod too violently to the beat of Penny Lane. Others have gone for prog, which is totally the opposite concept really. 

You Dropped the Ball - TW
This sounds very 80s, especially with that Van Halen solo. The crunchy guitar is really effective, as are the drums, though the melodic chord sequences give it away as a well thought-out, well structured song, disguised as metal. No problem with that, though, it's exactly what Van Halen used to do, and it never did them any harm, except when Dave Lee Roth went too far with the splits.

Heavy Metal Sirens - Colin P
Very proggish, with a nicely attention-grabbing Yes-style bass (that was the only bit of Yes I liked- the bass lines), and the chord progression is begging for some wailing lyrics about mermaids in a mercury sea or somesuch (isn't that what heavy metal sirens are?). I'd have liked to hear more of that distorted guitar riff, because when it comes back in, everything takes off again. I'd develop this if I were you. 

Don't Go - Rob W
This is the strongest proof that maybe mixing prog and metal in the same month wasn't compatible. Though to prove myself wrong, this is a cool mix of the two. Genesis with Jeff Beck. Very proggishly atmospheric, great singing, memorable hook(s), nice metal guitar, it ends way too soon, and deserves to be developed - you could have doubled it in length and it would have been a great contender in the ballad month. 

Harder to Hide from Yourself - T&G
You've hit the prog nail on the head, I think - sounds a bit like that Led Zep track with Sandy Denny singing on it, sort of floaty, melodic folk with a rock guitarist hammering the fuzz pedal in the background. Dry ice, an English wood at dawn, someone in the mist wearing antlers. I like the double vocals in the "chorus", and the dreamy organ male/female vocal section. 

I skugganum - Phil S
My Icelandic is a bit rusty, but ... Þú virðist alltaf að skrifa Prog rokk samt þannig að þetta var fullkomið fyrir þig. The 7/8 tekur það skrefinu lengra í PROG en þú ferð venjulega (nema þegar þeim mánuði þegar tíminn undirskriftir þurfti að vera undarlegt). Undirritunin brenglast gítar virkar eins vel eins og alltaf, líffæri er mjög áhrifamikil, strengur köflum eru lúmskur, multi-elt söngvara kafla er mikill, og það byggir. Eins og venjulega, hljóð þú alveg eins og þig, sem er það sem við öll vonumst til að gera (ég geri ráð fyrir).

The Bastards of Lurv - Christian D
Great title, and the nicely distorted riff is very 70s metal. You often do quite metal-esque heavy rhythm guitar, so this is the perfect place for it. The chorus is excellent and would have got you banned from Radio 1, guaranteeing a hit. Like others of us, your innate sense of melody kind of betrays the non-headbanging nature of the song, but then the song is the winner. I love that guitar solo, especially the first part when it kicks in at 1:15 - I wanted that riff to return.

Lemmy (Lemmy Lemmy) – Stephen Clarke

I saw Hawkwind in the early 1970s at Clacton Town Hall. The sound was so overwhelming loud that the only way we knew they were playing Silver Machine was because we recognised the shape of the riff that the guitarist was playing. Stephen has captured part of the odd thing about Lemmy – he definitely had a punk element to his playing, although he was identified just as much with metal (and a sort of psychedelia). Stephen’s tribute seems closer to punk than metal. I like cymbal hits on the chorus and the guitar burst that breaks up the song. The vocal double-tracking is really effective in the chorus and the riff gets stuck in your head really quickly.


You Dropped the Ball, John Paul – Tim Warner

Wonderful. You completely nailed the guitar sound – this sounds huge and what’s this – a prog/heavy protest song? Now that’s another direction altogether. Great organ break, sparkling guitar solo, angry sounds and multi layered vocals. This is a really enjoyable 3 minutes. A lesson for us all…


Heavy Metal Sirens – Colin P

What an unexpected pleasure. Great that you’re back and although it’s a bit of work in progress, as you say it has energy and bowls along nicely. I really like the distorted guitar and I rather like the bass sequence, which really drives it. I’d love to hear it developed into a song – sometimes writing a vocal part helps decide where the song goes. The production of this is very good – all the parts intertwine nicely and you can hear each separate addition. Welcome back!


Don’t Go (Stay) – Rob Warner

Now this is really a bit special Rob! I would very happily hear it developed into a full-length song – it came and went far too quickly. Great sounds, enormous drums, distorted guitars and the ‘stay my way’ line is fantastically well delivered. The whole thing has an over-the-top sort of feel to it but works beautifully as there is nothing tentative here. Every element of the song works really well, fits the brief and very obviously makes this a great month for the Warner brothers.


i skugganum – Phil Sanderson

Prog rock would seem tailor made as a style for Phil and this doesn’t disappoint. This has such a bold sweep to it and yet the unusual rhythm and interwoven guitar and keyboard parts make it a complex, rewarding song to listen to over and again. The slightly whispered vocal sound adds to the uneasy paranoia of the lyrics and the high and low vocal harmonies are terrific. This is unpredictable, intricate, occasionally uncomfortable and has really beautiful passages of music running through it. I can hear it in my head (but could never sing it)!


The Bastards of Love – Christian Duffin

This a great riff and throughout the song the guitar parts really stand out. As always with your songs, there is a great vocal line, wonderful harmonies and sharp lyrics. I thought of a number of influences floating about here AC/DC riffing / The Move vocal harmonies but above all, it feels like you’ve structured a really good, original song. Well recorded and confidently delivered, this is a little gem of a track.

Well done, Tim - an excellent metal song. You too Rob - fine work.

Well done Tim. Metal-tastic!