Saturday, 23 August 2014

Grace For Drowning - Steven Wilson (2011)

One of the most diverse, brilliant, haunting, heart-felt, transcending, contemporary, daring, progressive, eclectic, creative, beautiful works of music I've ever heard.

I'll try to make this a shorter review, because otherwise it would be too long for anyone to read. A five star rating is a very significant thing from my expectations.

I supposed I should give a big THANK YOU to this website and the collaborators above me for giving this album a high enough rating to encourage me to check it out. I've never heard any of Steven Wilson's work before the past few days, so I honestly had no idea what to expect, except that it might sound something like Porcupine Tree. In fact I was somewhat skeptical, given the many fanboys this musician has that it was probably overrated. And I've definitely never been one of those, Porcupine Tree has always just been and "pretty good" band to me.

In this album, however, Steven Wilson demonstrates his uniqueness as a composer and his knowledge of prog and contemporary "classical" composition techniques at a level of such height that's it's almost scary to fathom that he's actually human. What I mean is the fact that this shear amount of music could have this amount of substance and be mostly his doing (depending on the contribution of the enormous list of musicians) is far more rare than it is common. Many of the heavier parts sound very much like Red, especially in Sectarian and Raider II. A lot of the softer, more reflective tracks sound similar to those in The Incident, only I would say this material is far more creative and well done. The eclecticism using contemporary classical and jazz music (especially with the incredible harmonies in the Synergy vocals, and the virtuoso saxophone and flute players) often reminds me of Maudlin of the Well. It is progressive in every sense of the word that a progressive rock fan could expect, cutting edge, artistic, or the whole "asymmetric time- signature, long songs, and virtuoso musicianship" package. Grace for Drowning has it all.

I sincerely believe that if Steven Wilson continues to produce music of this caliber for several more albums (as we can all hope for), he could potentially be considered the rock equivalent of Beethoven, as in the artist who's work first defined and then reshaped the entire landscape of artistic music. As a music educator and historian, I can say without any doubt or shame that most if not all of the material in this album exceeds the artistic level of much classical music, save perhaps the main composers of their respective eras.

God knows whether this will be considered a masterpiece for the ages revered by musicians in the future, or just another "prog" album that will fade out with the passing of several generations, or if it will end up a hidden jewel of music that slipped through the cracks of fame and is known only by a few people. My guess is it won't be the second scenario, but as with all art, time will be the judge of quality.

Every second of this album is so perfect and effective that I really can't describe it in words. The reader should just hear it for themselves, and hopefully just might be as enthralled and captivated by this work as I am. Review from

Songs / Tracks Listing

 Disc 1

1. Grace for Drowning (2:06)
2. Sectarian (7:41)
3. Deform to Form a Star (7:51)
4. No Part of Me (5:45)
5. Postcard (4:29)
6. Raider Prelude (2:23)
7. Remainder the Black Dog (9:27)

Total Time: 39:38

Disc 2

1. Belle de Jour (2:59)
2. Index (4:49)
3. Track One (4:16)
4. Raider II (23:21)
5. Like Dust I Have Cleared from My Eye (8:01)

Friday, 22 August 2014

Steven Wilson - The Raven That Refused To Sing (and other stories) (2013)

Steven Wilson is arguably a modern genius of the prog community along with Mikael Akerfeldt, yet when they both came together for the Storm Corrosion project it had little impact on me. Wilson however as a solo artist has become intensely passionate about his music, and his solo albums are incredible masterpieces, especially 'Grace For Drowning' that floored me to the point where I had to obtain the deluxe version. Having to follow up such a brilliant album is not an easy thing but somehow Wilson has done so with a flourish that has heralded in the 2013 year in admirable style. Alan Parsons was on board to engineer this album so one would have to expect a high quality sound and it doesn't disappoint.

The album cover is like a rash all over the net with the astonished moon looming full and iconic in the darkness. The artwork is simple but embeds itself into the conscious easily and thus does its job to gain attention. The rest of the artwork in the Deluxe Version booklet consists of line drawings, some colourful paintings of the dishevelled looking kid in dense locations, a miserable man looking into a beer glass, later drinking a shot, some disturbing scratchy drawings, darkened stairwells and window frames, creepy faces staring out, images of a house, a tree and the scrawny watchmaker at work as his wife looks on, frames from the 'Raven' video clip with snow falling down in the forest, and the shivering old man pursuing the elusive bird. The booklet is extensive and arty as one might expect, and ends with an amusing drawing of the band playing looking like thin men with Wilson headbanging away. The artwork on the CD is the Raven looking mystical and enigmatic, and of course if you did get the Deluxe package you also have a 7 song demo to indulge in and the album in 5.1 sound on a blu ray and a DVD thrown in with all the clips and interviews.

'The Raven That Refused To Sing' has been promoted with film clips hovering about on the internet way before its release date and the film clip images that accompanies the title track are extraordinary. Wilson has reinvented himself again on this album, discarding the darkness of 'Grace For Drowning', and embracing a sound more akin to Porcupine Tree, oddly enough. The title track is masterful, and as it was the first track I heard initially I will start here. It is laced with beautiful keyboards and a pretty melody masking the downbeat lyrics that focus on the man's dead sister, that haunts the storyteller like the raven, and he misses her terribly and dreams of her to return to him; 'Just because I'm weak, You can steal my dreams, You can reach inside my head, And you can put your song there instead.'

Lyrically the poetry in the song has a melancholy edge. The images on the clip of an old man in a forest encountering a raven and then pursuing it finally capturing it and then dying, have a profound symbolic resonance. According to Wilson, the songs have classic Gothic ideas interspersed with suggested dread, regret, loss and the fear of mortality, or impending death, thus the omen of the Raven. It is these ideas that create a very unique atmosphere on the album. The raven essentially becomes, in the mind of the old man, a reincarnation of the old man's dead sister, and in his own delusion he believes if he can capture the raven and hear him sing he can recapture the life of his dead sister. The music is stripped back at times to a piano reverberating in the stillness. Wilson knows how to build on musical ideas and surpasses himself with such tracks, the mesmirising and haunting beauty is superb.

The album opens with 'Luminol' with a delightful pulsating bassline and reverb wah wah guitar splashes. Musically the album is faultless and the flute enhances the quality. There are some wonderful Yes-like multilayered harmonies for a moment and then the extended musical break dominates, with an odd time sig, an intense spectrum of bass, pounding percussion, floating flute, and Mellotron sounds. The electric piano runs have a 70s vibe especially when it builds with a shimmering soundscape, and utilising distortion devices and a ring modulator to good effect. At 4:35 it settles into a minimalist rhythm guitar and Wilson's vocals, in his reflective mood, with references to pop culture, 'the songs he learned from scratched LPs, stops in mid flow to sip his tea.' The lyrics centre on a protagonist who has died even in death continues to discover answers through reminiscing on the past or reflecting on a life that has faded; 'He strums the chords with less than grace, Each passing year etched on his face', is a reflection on how one might feel as we are 'born into a struggle, To come so far but end up returning to dust.' This ghost is a metaphor of fear and our obsession with mortality, according to Wilson in his online interviews.

Wilson doesn't labour on grim themes or death however throughout, and this album has more rays of hope than the shadows of despair found on previous releases, and leaves one with a profound sense of fulfilment. The music is uplifting and energetic, infused with passion throughout and progressive ideas using all the musicians at Wilson's disposal. The flute playing of Theo Travis is exquisite, but I am a real fan of that grinding organ by Adam Holzman, and the way the guitar interplays creating those endearing melodies. 'Luminol' is a masterpiece of the album and a promise of things to come.

Next is 'Drive Home' that opens with a sweet Neo-Classical melody that sounds partially like 'Castle In The Clouds' from 'Les Mesirables'. When Wilson comes in on vocals, the signature locks into a steady measured pace. All is held back like the old days of Porcupine Tree or the 'Deadwing' era. There is a remarkable beauty that emanates from the Mellotrons that sound like violins. The chorus is Wilson at his most melancholy with thought provoking lyrics; 'You need to clear away all the jetsam in your brain, And face the truth, Well love can make amends, While the darkness always ends, You're still alone so drive home.' The instrumental break is stripped back to a nice fingerpicking guitar motif, like Steve Howe, and Travis's achingly beautiful flute is layered over. The lead guitar break of Guthrie Govan that follows is incredible, soaring emotionally and adds so much depth to the overall atmosphere.

'The Holy Drinker' is a glorious throwback to the eclectic prog of vintage King Crimson meets Van der Graaf Generator, with elements of jazz fusion and mind blowing dissonant saxophone blasts. It opens with the wavering keyboard sound heard on Van der Graaf Generator's 'A Plague Of Lighthouse Keepers', then breaks into a cacophony of sound like a jazz shop exploded. Theo Travis is master at the sax helm and Wilson is the commander as he constructs this disharmony of musical instruments. I adored this on first listen and it soon became the quintessential track of the album for me. After this outlandish intro, the song finds some semblance of structure and Wilson sings some odd lyrics that I don't want to think about too deeply; 'With shaking hands and blackened heart, The glass he pours, this time it's also the last, In rapt communion with himself, The Holy Drinker is going straight in to hell.' On cue the song breaks into extended soloing with some wonderful organ and chirping flute taking centre stage. I love how the organ has that Keith Emerson 'Tarkus' sound at 6:25, but a special mention goes to the sporadic drumming of Marco Minnemann and Bass of Nick Beggs that are always on target and played to perfection. The song settles into Wilson's echoing gentle voice at about 8 minutes in, but it feels ominous as though the jazz fusion will break out at any moment. Then a grinding Van der Graaf Generator organ sound growls viciously with a downbeat tone, joined by odd rhythmic guitars. This feels like the coda of VDGG's 'White Hammer' and it is ferociously off kilter enough to jar the senses to their most awakened state. AlI in all a furious blast of masterful music and one to seek out for those interested in checking out the best on the album.

Thus far the album is astonishing, nothing less than brilliant prog, so I was looking forward to the next half. 'The Pin Drop' is the shortest song at 5.03, and has Wilson on his highest register tone singing; 'Carried away by the river that passes through bulrushes on to the sea, Dragged by the current to rest on the stakes of the breakwater shaded by trees, Beginnings and endings, love intersecting a rift that will break us apart.' The return of the sax is so welcome, and Travis lifts off with massive runs and haunting squeals of jazz ecstasy. The song moves into a Twilight Zone like atmosphere melodically, and feels again like vintage Porcupine Tree. The layered harmonies are exceptional and create a wall of sound, and all is augmented by the accomplished lead guitar solo of Govan. All this in 5 minutes, simply incredible work from Mr Wilson.

'The Watchmaker' is another of the album's epics, and showcases Wilson's poetry in the lyrics; 'The watchmaker buries something deep within his thoughts, A shadow on the staircase of someone from before, This thing is broken now and cannot be repaired, Fifty years of compromise and aging bodies shared, Eliza dear, you know there's something I should say, I never really loved you but I'll miss you anyway.' The music is appropriately like a music box chiming, very Gabriel-era Genesis in fact, and is enhanced by dreamy flute embellishments. There is a glorious lead guitar solo, perhaps the best on the album with Govan taking on speedy licks effortlessly and the squeaky sax joins in and it suddenly reminds me of Pink Floyd. The song takes on a new format then with piano runs and Wilson's voice emanating thoughts of the Watchmaker who reminisces on a dark deed involving the murder of his wife who has returned from the grave; 'But for you I had to wait, Until one day it was too late.' The music and harmonies become more romantically intertwined utilising old school 'do do do's' and then finally it breaks out into an odd time sig and some glistening piano sparkles, a booming bass solo reminding me of Rush's Geddy Lee. Finally the next phase of the music becomes dissonant with weird off tones in a 7/8 meter, being used where they should not, creating a disquieteing effect. This is a complex piece of music and perhaps the darkest track on the whole album, more like the 'Grace For Drowning' themes than others on offer.

It ends of course with the beauty of 'The Raven That Refused To Sing' and we are left with an astonishing album of dark haunting power as only Wilson knows how to create. This is certainly a different creature than 'Grace For Drowning' and did not impact me like that masterpiece, and yet this latest release is mesmerising on every listen. It is an album to listen to with unwavering focus, as is all of Wilson's work; music designed for headphones. It is hard to rate this album as everything is so well placed and perfect; Wilson throws in so many ideas that it is impossible not to enjoy this if your ears are attuned to experimental progressive ideas. It did not measure up to 'Grace For Drowning' for me, but still is a masterful album presented in a compact form of less than an hour. If you want more, the Deluxe version is ample enough though did not add that much musically, but more artistically. The experience is sheer joy when an album comes out that embraces all that is great about prog. The sax, the organ, the lead guitars, the rhythms; all are played to perfection. Wilson's voice is faultless and his ideas are poetically conveyed to precision.

Perhaps it is too perfect and too calculating for some listeners and I can understand how this can be off putting, and why it has received mixed critical reactions. However, Wilson is nothing short of passionate about his music and every note is placed to generate a congenial effect to enhance the overall experience. This is a series of stories, as the album titles states, and each story has its own atmosphere and style though there is a consistency in the thematic juxtaposition of music and vocals. It is a far superior album to some of the earlier Porcupine Tree albums and indeed Wilson's debut solo. I would rank it easily among his greatest triumphs, and certainly it is going to be one of the albums of the year. An album this bold and inventive deserves full recommendation and thus far it is the best release in 2013, so 5 shining stars to a modern musical genius that continues to produce prog at its highest caliber.Review from

Songs / Tracks Listing

1. Luminol (12:10)
2. Drive Home (7:37)
3. The Holy Drinker (10:13)
4. The Pin Drop (5:03)
5. The Watchmaker (11:43)
6. The Raven That Refused To Sing (7:57)

Total Time 54:43
Line-up / Musicians
 - Guthrie Govan / lead guitar
- Nick Beggs / bass guitar
- Marco Minnemann / drums
- Adam Holzman / keyboards
- Theo Travis / saxophone, flute
- Steven Wilson / vocals, guitars, keyboards 

Monday, 18 August 2014

Anathema - Distant Satellites (2014)

It's been quite a past few years for the incredible Anathema. Honors have been bestowed upon them, they've released an instant classic album in "Weather Systems", and last year they released one of the best live concert films I've ever seen, "Universal". Anathema is on top of the world, and they are only getting bigger. With all of this on their shoulders, they approach the world once again with their new album, "Distant Satellites", a fitting name for a massive album. Again, with all of their recent success creating huge expectations, can this band meet such critical reception? Needless to say, Vincent Cavanagh on vocals, Danny Cavanagh on guitar, Jamie Cavanagh on bass, John Douglas on percussion, Daniel Cardoso on drums, and Lee Douglas with her wonderful vocals were all up to the challenge.

"Distant Satellites" is a very different album from "Weather Systems", or anything else they've done, for that matter. It is different, yet somehow instantly familiar. It includes everything that makes them Anathema, but adds new and exciting elements to their already excellent formula. If you've never heard Anathema, their formula (in their last few albums, anyways) includes soaring guitars, amazingly catchy melodies, spiritual lyrics, and emotional flow both vocally and structurally. They are the masters of melody, and they remain complex and progressive even while being simple and accessible. They are truly masters of their craft.

This new album, then, is no different in those terms. The melodies return in force, such as the serene beauty of "The Lost Song" parts 1-3. And, yet, there is something different here. The melodic lines are somewhat more complex, less in-your-face, and more organic. This especially shows in the song lengths, most of them being over five minutes. This allows for more growth and more progression. Indeed, then, the melodies on "Distant Satellites", while not being as instantly lovable or recognizable, are certainly more difficult and possibly will have a longer "shelf life" in my mind. Yes, the orchestrations seem to be lower key, as well, allowing the vocalists to express themselves more personally then ever.

There are other improvements, too. I feel that the musicianship is more fervent and on a higher plateau of difficulty than Anathema has tried. Drummer John Douglas, especially, plays amazingly well from start to finish, accenting the music with awesome pounding and fills. The rest of the band are at their peak, too, with Vincent and Lee being especially great with emotional and meaningful vocal performances.

"Distant Satellites" is different in more meaningful ways, too. Utilizing post-rock/metal structures is nothing new for Anathema, but they really do perfect them here, as on "Dusk", a dark, climactic song. Yet, there is a sense of continuity between tracks, too. This is obviously the case between the three parts of "The Lost Song", but it's also apparent throughout the album, as if Anathema is telling us a story, convincing us of our true selves and our connection with the universe and with each other.

This album is wonderful in the first half, but my excitement reached new heights in the second half. Anathema has taken it upon themselves to change things up a bit. They wanted to progress their sound, but make it all seem so natural. So, in the second half, the album climaxes with one of the best songs, simply called "Anathema". But then, we are thrown for a loop somewhat, as "You're Not Alone" features a hefty portion of electronic vibe. It's great, but the best is still to come.

Next, "Firelight", a darkly ethereal instrumental track that is completely electronic, is thrust upon us, and is followed up by what may possibly be the best song Anathema has ever produced, "Distant Satellites". This track combines everything that has ever made Anathema great: soaring melodies, climactic structure, gentle spirituality, amazing vocals, and now an electronic beat that is both complex and catchy. Vibrant, mesmerizing, and pure, this track elates me every time I hear it. It takes this album, and my heart, to new heights. The album finishes with a gentle ballad that just seems so fitting, yet it still has the strong electronic influence.

So, is "Distant Satellites" a winner? In every way! Is it their best album? I don't know; it has the potential, but it might take time, just like "Weather Systems" did. What I can tell you is that this new album is more mature, more progressive, more interesting and eclectic, and less formulaic then anything Anathema has crafted yet. It does sacrifice some accessibility and some instant likability for these things, but I respect their decision massively, and I fully expect to see "Distant Satellites" at the tops of many lists at the end of 2014. Review from
Songs / Tracks Listing

"The Lost Song, Part 1" - 5:53
"The Lost Song, Part 2" - 5:47
"Dusk (Dark Is Descending)" - 5:59
"Ariel" - 6:28
"The Lost Song, Part 3" - 5:21
"Anathema" - 6:40
"You're Not Alone" - 3:26
"Firelight" - 2:42
"Distant Satellites" - 8:17
"Take Shelter" - 6:07
Line-up / Musicians
 Vincent Cavanagh / Voice, Guitar, Vocoder
- Danny Cavanagh / Guitar, Keyboards, Voice
- Jamie Cavanagh / Bass
- John Douglas / Drums, Keyboards
- Lee Douglas / Voice

Sunday, 17 August 2014

Anathema - Falling Deeper (2011)

Anathema goes grandiose and exaltedly symphonic on this release, the target being a reworking of older songs and fitting them into a massive orchestral glow that is simply put, irresistible! Their usual gloomy veneer has been coated with a colossal melancholia with torrents of effective symphony strings courtesy of the London Session Orchestra. Accordingly, this evolving group of musicians search out new sonic horizons, eschewing any formulaic approach to their discography and boldly take their craft to new heights. This is a most welcome philosophy for it underlines a definite progressive tendency to constantly alter their scope and hone their artistic vision, unafraid to experiment and rejoice in the results. Being relatively new to the Anathema phenomenon (the masterful "Judgement" is what sucked me in), I need to visit their past discography but with music of such sheer beauty, I have no wish to run too fast , helter-skelter. I know I will get there. In the meantime, the aura of grandiose ennui becomes evident on "Crestfallen", a perfect title of a perfect song expertly portrayed amid a wave of crushing symphonicity. It segues directly into "Sleep in Sanity" a downright killer track, wielded by a sensational female wailing by Lee Douglas , while the three Cavanagh boys really lay it on thick and creamy, as befitting such a spectral arrangement. "Kingdom" wallows wildly in a steamy, delirious and yet consistent aural mist, emotionally charged and breathtaking. "They Die" is short but oh so bittersweet! The most glorious 2 minute piece you have ever heard. "Everwake" is a stunning slice of Annike van Giersbergen (The Gathering), a wonderfully adept vocalist, specializing in the fragile/powerful arsenal of pipes. She can howl, wail and sing with total ease. When a piano lulls you into an orchestra of trembling strings, how can you not melt? "J'ai Fait Une Promesse" is such a highlight then! Melancholic restraint. Desperate gorgeousness. "Alone" is cinematographically creepy by comparison, acoustic guitar gloom and despondence invade the air with morbid intensity (lack thereof, actually) until Lee swerves into our ears, screeching some distressed plea, the relentless plucking strings of the forlorn acoustic guitar weeping in the foreground. Thunderstorm effects add to the murkiness, Lee doing an encore wail and figuratively ushering the funeral choir forward. Chilling to be alone for some. "We the Gods" is another piano and string cameo that meanders along, unobtrusively carving an elegant route. "Sunset of Age" ends this voyage on an uplifting note, massive strings shepherd in some irresistible male and female vocals, a steady beat and a thunderous chorus. The violins are stupendous, a dazzling foray into the senses confused by all the contrast and the stop and go rhythm, the piano refereeing the crew, putting them into a resemblance of order. Yes, the music is that powerful and evocative, yet treated in a classical way. Wow!. Their material is ideally suited for this kind of overhaul, hence it's successful! The screeching guitar twining with the strings is exemplary, proving they are damn fine musicians to boot. A triumph of adventure, courage and musical vision
This is a petite one, barely a half hour of music but quite a stellar performance. Brief album, brief review.Review from

Songs / Tracks Listing

1. Crestfallen / Sleep In Sanity (6:43)
2. Kingdom (3:59)
3. They Die (2:20)
4. Sunset Of Age (7:32)
5. Everwake (3:09)
6. We The Gods (3:00)
7. I Made A Promise (4:10)
8. Alone (6:36)

Total Time 37:29

Line-up / Musicians 
 Vincent Cavanagh / vocals, guitar
- Daniel Cavanagh / guitar, vocals, keyboards, Piano
- Jamie Cavanagh / bass
- John Douglas / percussion, keyboards, guitars
- Lee Douglas / female vocals
- Les Smith / keyboards

Thursday, 14 August 2014

Anathema - Weather Systems (2012)

"Weather Systems" is a well organized collection of (occasionally) gorgeously stunning pieces of music.

'"We're Here Because We're Here" was an almost drastic change in direction for former Doom Metal band Anathema; this band had released for over a decade music that incorporated progressively smaller amounts of Metal influences, and had gone towards a cleaner, more Alternative Rock/Progressive rock type of path. But the 2010 release was the most peaceful and softest album yet by the band; it contained beautifully enlightening songs, had a wonderful flow, and was simply a delight to listen to all the way through. "Weather Systems", two years later, attempts to do the same thing, and, while it is successful in many ways, it doesn't quite live up to the sheer bliss of "We're Here Because We're Here".

I personally doubt Anathema would get any quieter than this: this album is in many ways a sort of WHBWH 2.0: the production is the same, the atmospheres barely change, the melodies are still haunting, melodramatic, and emotional. They are some undeniable changes that can be heard, like the massive presence of the acoustic guitar, and a heavier use of electronics in some spots. But, other than that, the album doesn't bring anything new up to the table.

This would usually annoy me, when an album is simply a photocopy of another release by the same band (or different band), but the songs themselves are for me a huge saving grace: even though the two parts of "Untouchable" that open the album are a little generic, the best moments can be found in the dead center of the album; "The Gathering Of The Clouds", "Lightning Song" and "Sunlight" to me are the most precious achievements the album accomplished; there are heavy Alternative Rock influences in all of these tracks, especially in the hauntingly memorable melodies, but their surrounding aura is undeniably Progressive. "The Storm and the Calm" though is a disappointment, especially the first part of it, where the main hooks don't appeal to me at all. The song runs for nine minutes, and is admittedly very well structured, something you realize when the second part of the song kicks in, but those first couple of minutes are hard to forgive. Even though "The Lost Child" has some nice and delicate tones, it is at times a little too melodramatic, but that is compensated by the final track, "Internal Landscapes", a very strong ending to the album that brings up and seals some reoccurring concepts in an even more explicit way, thanks to the presence of a sample of a man who narrates how he faced a near-death experience,e and found the light consequently; but the song itself also has a very bright, illuminated feel, more than a few of some tracks here.

"Weather Systems" fails only in one thing, which is attempting to distance itself from it's predecessor. Despite a few weaker songs, this Anathema album contains some really pleasurable songs (which is to be expected from this band) and overall, manages to keep the attention of the listener always in sync, a talent that isn't natural for many musicians. But because of the overall accessible nature of these mellow, emotional tracks, Anathema accomplish the task seemingly without much effort.Review from

Songs / Tracks Listing

1. Untouchable Part 1 (6.14)
2. Untouchable Part 2 (5.33)
3. The Gathering Of The Clouds (3.27)
4. Lightning Song (5.25)
5. Sunlight (4.55)
6. The Storm Before The Calm (9.24)
7. The Beginning And The End (4.53)
8. The Lost Child (7.02)
9. Internal Landscapes (8.52)

Total Time 55:45
Line-up / Musicians
 - Vincent Cavanagh / vocals, keys, programming, guitars, bass, synths
- Daniel Cavanagh / guitars, keys, piano, bass; vocals on tracks 5 & 8
- Lee Douglas / vocals
- John Douglas / drums; synths and programming on track 6

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