Thank you so much, Kev Rowland and Progressor (Uzbekistan), for this five-star review for C.O.R.E. !!
Here is the entire review, reprinted in full below:
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It has been way too long since we last heard from Circuline, with ‘Counterpoint’ being released eight years ago, and the live ‘CircuLive: New View’ coming out in 2020, but finally they are back with a new album. I am not sure why it has taken so long, but I know Andrew Colyer has been very active with both Robert Berry and The Tubes, and then on top of that we have had some line-up changes. The core of the band since 2014, Andrew (keyboards, lead & backing vocals), Darin Brannon (drums & percussion, keyboards) and Natalie Brown (lead & backing vocals) have now been joined by bassist Shelby Logan Warne (Kyros) and multi-instrumentalist Dave Bainbridge (The Strawbs, Iona, Lifesigns) who this time around provides guitars and additional keyboards. Ex-member William “Billy” Spillane provides backing vocals, while Joe Deninzon (Kansas, Stratospheerius) plays violin on one song. The band describe their music as “modern cinematic rock” and if by that they mean they provide classic symphonic prog with modern twists then they have nailed it on the head. Harmony vocals are a key element of what they are doing, and there are times when they come across as being heavily influenced by Yes, but Dave has a very different approach to the guitar than Steve Howe, and this combined with the less bombastic and more delicate keyboard playing from Andrew, and some lovely fretless bass from Shelby (who often stays far more in the background than one may imagine) means they very much have their own identity. I have been listening to Dave for more than 30 years, and he is one of those musicians who provides additional quality to any band he is playing with, and given I was already a fan of Circuline prior to hearing this I was smiling before this even hit the player. This is only their third studio album, and I certainly hope it is not as long to the next one as yet again Circuline have produced an album that lovers of Seventies prog will get a great deal from with luscious music and vocals throughout.
Thank you so much, Dmitry M. Epstein and Let It Rock (Canada), for this wonderful review of C.O.R.E. !!
Here is the entire review, reprinted in full below:
Turning international, progressive rock pursuers explore inner light and expand sonic panoramas to shine it on.
Ages seem to have passed since “Circulive: New View” found this band taking stock of their early creative achievements, yet while the collective started working on “C.O.R.E.” soon after coming off-stage when that performance was over, it took them about five years, and recent remodeling, to finish the album. No wonder, then, in the subject of time and impermanence serving as a principal motif here and running from opener “Tempus Horribilis” to centerpiece “Temporal Thing” to “Transmission Error” which forms the record’s finale. What’s wondrous is the ensemble’s newfangled adventurousness and elegance – a possible result of adding two British musicians to the American core and one of the fresh members being a woman who must enhance the group’s sensibility, previously expressed primarily via singer Natalie Brown’s perspective. And though the listener’s left wondering as to why there’s an acronym in the platter’s title, the presence of a riddle could never get in the way of delight.
And delights on display are bountiful. They float into focus once “Tempus Horribilis” has unfolded a cinematic soundscape that’s stricken with effects and full of effervescence, and refract initial excitement through the insistent, reggae-tinged groove of Shelby Logan Warne’s bass which Dave Bainbridge’s scintillating guitar and Andrew Colyer’s ivories flesh out tightly enough to make snippets of spoken word and splashes of vocal harmonies feel like a mere lead-in to dramatic scenes lying further down the road. As Brown and Colyer’s voices mesh to create tension, and Bainbridge’s [guitars] join in, the entire stunning scope of the quintet’s current fantasy flight and their delicate dynamics come to the fore. So if the acoustically tinctured, melancholic ballad “Third Rail” flutters across serrated riffs towards raga, the piano-rippled “Say Their Name” offers more nuanced, Renaissance-scented elegy only to turn it into a funky symphony, with Darin Brannon’s thunderous drums directing the overall storm.
As the rhythm section drive the rapture of “All” to banish a Jon Anderson-shaped shadow from the frame until the nervous, albeit opulent, strands of “Temporal Thing” bring it back, the ensemble masterfully balance instrumental images and enunciated poetry to land on a triumphant plateau. However, “You” is where heavy figures, exquisite passages and folk oratorio blend most perfectly, and “Blindside” is where the players’ souls are laid bare in the most vulnerable, sincere, and hymnal manner. With Natalie aiming for celestial heights and leaving faux-orchestral epic “Transmission Error” – given Joe Deninzon’s violin attack – to flex their progressive-rock muscle into a lyrical fiber, “C.O.R.E.” emerges as a major work that should shed a light on the now-Transatlantic band’s alluring future.
*****
Dmitry and Let It Rock – Thank you so much for these kind words.
Here is the entire review, translated and reprinted in full below:
The US band Circuline was founded in 2014. Behind the name are experienced musicians with a clear plan in which direction their collaboration should go. And so it is not surprising that their debut album “Return” was released a year later, followed a year later by their second studio album “Counterpoint”. That was it for a while but with new output, because in the next few years only live recordings were released on CD or DVD (“CircuLive::Majestik” from 2018 and “CircuLive:: New View” from 2020).
There were line-up changes and ultimately a very promising line-up, which produced the current album “C.O.R.E.” played. The core still consists of singer Natalie Brown, keyboardist and singer Andrew Colyer and Darin Brannon. New additions include Shelby Logan Warne on bass (Kyros, Synaesthesia) and the busy Dave Bainbridge on guitars (Iona, Strawbs, duo with Sally Min, daughter of the legendary Gentle Giant keyboardist Kerry Minnear, Lifesigns). Of course that makes you curious.
And the Symphonic Prog fan will not be disappointed! It may take a few listens, but sooner or later it becomes clear that this is a very varied, high-quality album that will hopefully lead to a significant increase in the level of awareness and popularity of this (now multinational) band - this would be deserved anyway.
Plus points can be collected with the vocal melodies and performances. They are quite melodic, although the melodies don't necessarily stick in your ear canals straight away. The interplay between front woman Natalie Brown and singer/keyboardist Andrew Colyer works flawlessly. They are able to sound a bit like Yes, like on ‘Third Rail’. But Moon Safari also comes through in some songs with a lot of background vocals. ‘Temporal Thing’ also contains arrangements reminiscent of Yes, here through the steel guitar and the beautiful Mellotron sound.
'Blindside', on the other hand, shows that they have mastered powerful vocal arrangements that even go as far as gospel-like.
They put the monster track 'Transmission Error' (albeit “only” about ten minutes long) at the end. It would also be a perfect end to a concert, because there is one climax after another. It starts right away with a crisp bass and a fast guitar and shows that they can also cut a good figure with slightly harder tunes. Bainbridge in particular shows his strengths here, and it doesn't have to be a Latimer-like guitar, but rather something completely different, like in this case a short Allan Holdsworth memory passage. But the keyboards are also very versatile here, sometimes as a fine organ, then with beautiful piano playing and finally with a wild synthesizer duel with the fantastic violin by Kansas violinist Joe Deninzon. As I said – a monster track. If you want to get a quick idea of the qualities of this band, listen to this song straight away - then no questions will be left unanswered.
Great album from a great band that has been given an additional breath of fresh air by the new members. Big recommendation for the symphonic rock fan! Rating: 12/15 points
Teapot of the Week “Teapot of the Week” on Supervised Progging in week 38/2024
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Supervised Prog and Juergen – Thank you so much for these kind words.
Thank you so much, John Giordano and The Progressive Aspect, for this spectacular review of C.O.R.E. !!
Here is the entire review, reprinted in full below:
“The first I heard of Circuline was when they were added to the roster at RoSFest in 2016. Because I was unfamiliar with the band, I dutifully bought their debut album, Return, to see what they were all about. Nothing could have prepared me for the emotional connection I would form with the band. It seemed as if they came out of nowhere fully formed. The level of songcraft was matched by their proficiency as instrumentalists and vocalists. Formed from the ashes of prog tribute band Downing Grey, core members Andrew Colyer (keyboards, vocals) and Darin Brannon (drums, keyboards) along with guitarist Bill Shannon sought a vehicle for their own original compositions. With the addition of Billy Spillane (vocals, guitar), Natalie Brown (vocals) and Paul Ranieri (bass), the band was a cut above, right out of the gate. Their second album, the even more brilliant Counterpoint, began a musical chairs tradition that would make Yes blush. Several guitarists and bassists later, and with the departure of vocalist Spillane, the band has risen once again, this time with bassist Shelby Logan Warne (Kyros) and guitarist Dave Bainbridge (Iona) enhancing and expanding the sound even further.
Live, Circuline performs like they were already in the top tier of progressive rock acts. Check out their two live albums/videos for confirmation. Like Marillion, this is a band of savvy marketers as well. With their latest album, C.O.R.E., each week for twelve months they have released a performance video, a lyric video, a behind the scenes video and a gear video, as well as interactive videos with the fans. These guys and gals are the consummate fan-friendly group, and as a result (full disclosure) I have become cordial with several members of the band. When I learned of the latest line-up changes, my level of wariness was high. Spillane was both a great vocalist and frontman, and Bainbridge’s soaring guitar solos as part of Iona seemed an odd fit, not to mention keyboardist/vocalist Warne stepping to the fore as a bassist. C.O.R.E. proves that not only was there no need to worry, Circuline takes what would be challenges for a lesser band to catapult them to new highs. This is, without a doubt, the best album of their career to date.
C.O.R.E., which stands for Circuline Original Reimagined Evolving, is an album full of surprises. Making the best use of Colyer’s sound designs thus far, the aforementioned Warne on nimble (and even funky!) bass, Brown and Colyer up front as lead vocalists in a way you haven’t heard before, and Bainbridge morphing his sound to suit each song, this is an album that reaches for new levels. In the process, it achieves and surpasses them.
It’s hard to decide where to focus your attention first when Tempus Horribilis kicks in. Disembodied voices, keyboard pillows and guitar squeals draw you in different directions before the bass and drums knock you off your perch. This is a band out to prove something, and nothing is going to stand in its way. Even the choral “AHHHH” packs a wallop. Nearly every song is a mini epic, going through multiple moods, tempos and time signatures. The song calms down as Colyer takes the first lead vocal, but the acoustic piano and cymbals are the first building blocks in a new wall of unease. The repeated refrain of “Times like these, a vise, like dying, like bombs” keeps the tension in the song while Bainbridge’s guitar, a soaring and soothing presence in Iona, here underlines the sense of fear and dread. Brown’s skills as a lyricist beg the question why it took this long for her to contribute as she gives voice to hopelessness with “The plague of dissension/Gaslighting tension/My faith is gone”.
Third Rail flips the script with melodic and lush arrangements. Acoustic piano and guitar along with sitar effects lend a radio-friendly atmosphere to this song. The duel between Bainbridge and guest guitarist Alek Darson is masterfully understated. The piano and guitar lend their gentility to the introduction of Say Their Name, a perfect foil for Brown’s heart-in-the-throat vocal turn. Warne’s bass is beautifully elastic, a smart lead-in for Bainbridge’s very nearly funky rhythm guitar. Even Brannon shows off a bit with a couple short drum solos that lift, rather than interrupt, the song. Lyrically, the song splits the difference between political expression (BLM?) and universal experience. When the tempo picks up at the end of the tune it feels like an affirmation that we can get this right.
A twisty bass run sets the stage for All. Colyer’s treated vocals are thickly layered and smooth as silk. When Brown joins on the chorus, the effect is transcendent. The song seems to have Yes’ Changes in its DNA, yet Circuline put the song through so many changes that it manages to rise above its influences. Brannon and Warne are a formidable rhythm section, full of both power and finesse. Colyer’s Julliard training comes to the fore on his piano parts. Still, its his synth work that makes you understand why he was a more than worthy stand-in for Keith Emerson in Robert Berry’s 3.2. Speaking of Berry, he does an amazing job of mixing the album (why can’t John Myung be heard with such clarity on Dream Theater records), each vocal and instrument clear and crisp.
The delicacy and majesty of twelve string guitars and solo piano evoke Anthony Phillips on Temporal Thing. When the rest of the band fill out the piece, it is taken to yet another place. Brown’s vocals seem to extol the virtues of love but with enough space for the listener to fill in the blanks. Soundscapes and a heavy guitar introduce You before leading into an interesting mix of percussion instruments that bring a sense of foreboding that swallows You whole. Is this a bad relationship or something more sinister? The spoken vocal asides that populate the album are used to tremendous effect here, spare but intense. The chorus melody is an absolute earworm; however, it’s the feeling that something is not quite right that sticks with you. Blindside, possibly my favourite song on the album, lightens the proceedings with a lilting refrain that will remain with you long after the song is over. Colyer is a master at writing melodies, and even better with killer harmonies. Bainbridge finds plenty of space for an Iona-esque solo that takes wing as Brown’s wordless voice plays around and between Colyer’s thickly layered vocals, creating something totally new and different for Circuline.
Insistent bass notes on the piano, chunky guitar chords, and in-your-face bass runs are the hallmarks of Transmission Error. The music is appropriately claustrophobic and dense for the dark lyrics. Listen closely to the plethora of sounds throughout, some obvious, some just beneath the surface. Colyer’s piano solo is a highlight which melts away to guitar riffing which in turn yields to bass riffs before a synth/guitar/violin mashup messes with your brain. At nearly ten minutes, it’s the longest song on the album. The mind boggles at the thought of how they might tackle an epic track. The grand mellotron-infused finale lifts the song to the heavens as the massive vocal proclaims: “The chance that I take/Missteps I’ve made/I have found my way back home”.
C.O.R.E. is the sound of a band firing on all cylinders. If there is a better album out this year, I have not heard it yet. Do you want your prog to be intelligent, sophisticated, full of talent and unexpected delights? Do you want songs that challenge and yet stick with you? Listen to C.O.R.E. and be amazed. I am already salivating like Pavlov’s dog at the thought of what Circuline might come up with next.”
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The Progressive Aspect and John – reading this review made band members Andrew Colyer and Natalie Brown cry with gratitude. Thank you so much for these amazing and kind words!
Here’s the link to the original article on their website:
Thank you so much, Martin Dambeck and Empire Magazine (Germany), for this wonderful review of C.O.R.E. !!
Here is the entire review, translated and reprinted in full below:
“After two live releases, Circuline returns with C.O.R.E. another studio album.
Originally started as a prog rock cover band called Downing Gray, the prog ensemble Circuline emerged in 2014.
With the Americans the personnel carousel has turned. So are bassist Shelby Logan Warne (Kyros) and guitarist Dave Bainbridge (Iona) are new on board. As Joe Deninzon (Kansas) also plays the violin as a guest. From the original cast are Andrew Colyer (keyboards, vocals), Darin Brannon (drums) and Natalie Brown (vocals).
Circuline play cleanly produced and extremely entertaining classically influenced prog Rock that sounds very modern at the same time.
Bainbridge on guitar in particular elevates the Circuline new level. He hits one fantastic guitar solo after another. The vocal passages in particular are sometimes reminiscent of Yes and the violin playing also gives off a slight Kansas feeling.
There are also sparkling to sacred keyboard runs over and over again dramatic arcs of tension in the individual songs. The beautiful thing is that the Americans, who, by the way, do a lot of bombast, always remain quite independent in all comparisons. C.O.R.E. is a fine prog pearl from the USA. Recommended!”
Empire Magazine and Martin – Thank you so much for these kind words.
Highlights | Tempus Horribilis, All, You, Blindside, Transmission Error
For fans of | Landmarq, Darwin, Yes, King Crimson, Big Big Train, ELP, Steve Hackett, 3.2
Appreciation
Two studio albums were followed by two live albums. So it was time for Circuline to come back and present new songs. This is where CORE (Circuline Original Reimagined Evolving) comes in . The North American band is making some changes to its line-up for this new album that has been in the works since 2018. And, without a doubt, this record is well defined by its title and subtitle. This is the interior, the core of Circuline , clearly, its musical core – a prog rock that does not aim for virtuosic displays of galactic abilities in half-hour songs. On the contrary, it promotes a prog rock that is based on the melody and emotion of songs with a strong musical, theatrical and cinematic component. The successive dialogues between the vocalists and between all the instrumentation and harmonies that are created, carry this desire towards a greater goal than simply being technically magnificent (which it is also, let’s say!) – the goal of creating songs that touch and that involve. But always with meticulous attention to detail and, mainly, to the experimental component. And, in this aspect, C.O.R.E., shows us an evolved, mature Circuline , capable of entering both fields (song/emotion and sound exploration). In fact, as the subtitle makes clear: this is an album with originality, with imagination and that marks the evolution of the band and of a style. [88%]
