Polish and English progressive rock and metal quartet Disperse returns to present their third studio album Foreword (Season of Mist). This band may take inspiration from bands such as Pink Floyd, and Dream Theater, but it ends up with a very modern sound , in some parts similar to pop bands such as Kensington, but with a more progressive bent to their music.Continue reading
Adam Wakeman has been on stage and behind the scenes with some of the greats of all time in his various roles with Ozzy Osbourne’s solo band, and as the keybordist/backup guitarist for Black Sabbath, plus his own band of prog rock masters Headspace. We chatted with Adam recently about playing the final dates with Sabbath on “The End” tour, the health of Tony Iommi, his future with Ozzy, and how he feels on the occasion of the final year of tours.
Are you starting to get sentimental about these final dates, or you won’t get there until later in the next year maybe?
I think I would like to say that I would be thinking about that later towards the end of the tour, but it’s very hard not to feel that it’s something quite special at the beginning, because, no pun intended, it’s the beginning of the end. It’s pretty final, which is quite sad. At the same time, just to be a part of it is amazing. The first ever show I did was 2014 I think … I’m sorry, 2004. It was quite some years ago, and to be honest, I thought that might be my last tour, because you never know from one year to the next, things change. I try not to get too sentimental about it, but it is hard not to feel that you’re part of something special, that’s for sure.
Everybody understands that this is certainly not the end of the career for anybody involved in Black Sabbath. Ozzy is planning solo work, as is Tony. I’m sure you’ll be involved in more solo tours.
That’s the plan. He (Ozzy) knows, you can understand that they, after some 44 odd years, it has to come a time … The touring schedule … I get quite tired sometimes. I’m 41 years old, so when you’re in your late 60s, it has to be harder as well. You can totally understand where they are coming from, and I think that it’s great that they’re doing it on such a great level.
Especially for Tony, who obviously despite his very public health struggles, has a clean bill of health at the moment. Everybody worries about him and certainly you can only do so much.
Of course. I can only speak from my … If I was in a position like that, I not even sure if I would be doing a final tour. He’s really well, and he’s experienced something that a lot of people unfortunately don’t have the good fortune to be able to experience. He’s had successful treatment, and he’s really well. It’s amazing how they get on with it really. Yeah, it’s a great thing to be a part of.
KEITH CHACHKES
Its hard to believe that its been four years since prog metaller’s Headspace released their debut album I Am Anonymous (InsideOut), as its strength and freshness in a, at times, stagnant progressive metal scene is still so fresh, and yet it feels like an eternity since it came to life. Unfortunately, due to the ever busy schedules of their personnel, which include singer Damian Wilson fronting UK prog metal stalwarts Threshold and keyboardist Adam Wakeman’s live commitments with Black Sabbath, Headspace can’t afford to be full time project, and fans have had to wait a long time. But as they say, absence indeed makes the heart grow fonder, and expectations for a follow up have thankfully been more than matched.
More a heavy progressive rock band than tech-metal or similar, Headspace have branched out further on follow up All That You Fear Is Gone (InsideOut), proving deeper, more detailed and more emotionally resonant than its predecessor. Focused on the subject of outside influences trying to control and individual, lyrically this goes in to the likes of greed and life’s ill distractions, subjects steeped in a dark reality, but does so without sounding cliché or contrived and instead powerful and emotive. Of course when they are sung by one of the most adaptive and excellent vocalists in contemporary prog in Wilson, this really helps their case.
Musically this proves as diverse and unpredictable as ever, veering from monstrous hooks to clean acoustics and unexpected dynamic swings, and even bluegrass on the delicate ‘Polluted Alcohol’. The strong collective at play makes for a lot of virtuoso performances and show stealing moments from all, but rather than being a competition for space and attention, once again this is a towering collection from a collective set towards a single, collective goal. There may not be the endless time in the world for all of these guys to give Headspace the full time work it really deserves, but be thankful that any time that is given showcases them as one of the greatest units in modern day prog.
9.0/10
CHRIS TIPPELL
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