Thieves kitchen torrent

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There is such a wonderful Becker-Fagen-Katz feel to this music! The band definitely feels more likely to play in a jazz house than a rock stadium. There is an important element--an expression or emulation of reverence for Nature--in this music, one might go so far as to claim that it is in fact essential. Beautiful, poignant, timeless. Another one best performed in the intimate, smoky darkness of the jazz lounge.

At Amy makes her first appearance with very simple and sparse accompaniment from electric piano, Mellotron, sparse bass, and cymbal play. A minute later the Yes-sound has returned while Amy continues singing. Definitely an old Time and a Word feel to the music--especially in the guitar play as this section continues. Amy returns at while the band plays the same early YES weave. Thanks to Johan Brand and Thomas Johnson, this never gets old or boring.

Paul Mallyon is brilliant here! Amy returns to sing over the final couple minutes as the 'tron-led YES-musicians build up to their finale. Flawless composition and performances only rated down for lack of super-refreshing surprises, a little lack of diversity. It's not often bands pay tribute to early YES!

Flute bridges the first verse to the second, opens the way for bass, percussions, and electronic keyboards to join in. What a masterful, beautiful construct! Three minutes in and Amy's only sung that initial verse: it's all been instrumental since then! Masterful performances from Anna Holmgren on the flute, Johan Brand on the chunky, forward-mixed bass, Thomas Johnson on keys, and Paul Mallyon on the drums.

What 'nglag'rd would have sounded like if they had slowed it down and played with space and time more. When Phil finally joins in with two guitar tracks in the sixth minute, it's like the king has arrived! The simple and yet numerous keyboard contributions made by Thomas Johnson are so perfect! Like listening to Mike Oldfield slowed down for effect. It's not until the final minute that the music d back to the simple piano accompaniment with which Amy sings her second and final verse same as the first.

One of my favorite songs of the year! Definitely my vote for Album of the Year Review by Progfan Prog Reviewer. Review by kev rowland Special Collaborator Honorary Reviewer. Whilst the core line-up of Amy Darby vocals , Phil Mercy guitars and Thomas Johnson keyboards, ex-'nglag'rd were still here from the previous album, this album saw a few changes in the guests.

Anna Holmgren flute, 'nglag'rd and Paul Mallyon drums, ex-Sanguine Hum have now been joined by Johan Brand bass, 'nglag'rd , and this time there is no trumpet or cello. Although this is a Thieves Kitchen album, it means that of the six involved, half of them recorded the 'nglag'rd album 'Viljans 'ga'.

I have heard all of the TK albums, but it was 's 'The Water Road' where they made a significant musical leap, which is where Thomas joined the band.

The one word that shines throughout this album is quite simple, 'confidence'. Here are a group of musicians who have been working together in one form or another for quite a few years now Anna was involved as long ago as 'The Water Road' with Amy, Phil and Thomas , and they know what they want to achieve and trust each other implicitly.

This is all about producing complex progressive music, but always allowing Amy to shine with strong clear vocals. She is at the forefront of everything they are doing, with everyone else combining to provide a suitable backdrop. This could mean acoustic guitars, or classic organ sounds, complex drumming, striking repetitive bass or clear flute.

This is progressive music that can be incredibly complex, or simple almost to an extreme, melodic or discordant, languid or rapid, whatever is the right setting for the arrangement. This is type of music that got me interested in progressive rock in the first place: I want to hear music that is complex and complicated, where the mind and ears wonder where they are going to be taken to next on a journey of musical adventure and exploration.

At the same time, I want it to make total musical sense so that I don't get lost along the way but feel that I am being taken on a circuitous route to ensure that I don't miss any of the wonders that are available. This is yet another stunning album from Thieves' Kitchen, and I can't believe that it has taken me so long to write about it.

But, I know that they are currently recording the next one, so hopefully there will be even more to hear soon. Review by FragileKings Prog Reviewer. I first heard about Thieves' Kitchen back in when I was seeking out new prog bands and stumbled across them on iTunes. At the time I liked only some songs but not enough to want to buy an album. But "One for Sorrow" seems not like the best place to start with this band. After a brief child's rhyme, the music begins and sounds promising enough.

There's the usual electric guitar, bass, drums and keyboards. It's when the vocals come in that things start to go the opposite direction from which I'd hoped. Now it's not that Amy Darby is a bad singer. At first I thought she was good but unremarkable. However, listening more carefully I have come to think that the vocals lines for this song were just not meant for most singers.

She has to sing low and throw in an occasional higher note and hold these low notes. It feels more like someone trying to sing over a prog instrumental. There's a pleasant bit of flute followed by some nice piano, the only redeeming virtues of this song for me. As I had Black Sabbath's "13" in my iPhone music library at the time I first heard this song, I was for a moment puzzled as to why Black Sabbath suddenly got cued up. Yet despite the heavy riff, the production of this album is not like a metal one, and the song can no longer be confused with the metal legends.

It's a powerful track musically and in some ways a good change at least as far as the singing goes. But in the end I feel something was missing to make it a successful hit with me.

I don't think even Janis Joplin could have made these vocal lines work. It's not until "The Weaver", a short acoustic folk piece, that at last Darby seems to have been able to capture her voice in the song. For that matter, it's only here where I first find myself really enjoying listening to the music. Prior to this, a lot if not most of it, sounds like a colour-by-numbers attempt to create a modern prog feeling but even though the bass and drums are working, they don't seem to manage anything inspiring.

At times pretty good; at other times rather generic. The final track is also a longer one, just over 12 minutes, and it's here at last that I feel the band found its inspiration. The music has energy and purposefulness. The band seem to know what they are doing and why at last and there's feeling in the playing. It's too bad that a couple of more songs on this album didn't have that energy. I'm afraid that I can't get excited about this album. I've listened to it a few times and added songs to mixed playlists hoping to find something outstanding but I can't.

I've read other reviews that say "One for Sorrow, Two for Joy" is a weaker album in TK's discography, so it seems I'm not the only one to feel something is lacking. It's not a huge disappointment but worthy only of a flat three stars and nothing more. Great keyboard play from Thomas Johanson throughout but Paul Mallyon's drumming and Johan Brand's bass play are stellar! Nice shift away from the blues foundation after the mid-song flute solo.

The most accessible song I've ever heard from TK and my favorite melody of theirs. The five-minute opening instrumental section is quite impressive for the excellent play of its interwoven parts--not unlike a KING CRIMSON "Discipline" display--but it then mysteriously disappears in order to give way to a soft acoustic guitar foundation behind Amy's storytelling.

A pleasant enough section blessed with Amy's crystalline vocal warmth, but then, though the song builds layers around and with Amy's story line, the song never seems to take off and fly--and feels much the homogenous single movement of what is promised to be a Yes symphony. Impeccable performances on what feels like an under-developed song.