Circuline – International ProgStock Festival Announcement #2
Michael Gauvreau (Willie Aames, Jumptown, ColyerBrown) will be joining Circuline for our performance at ProgStock on Saturday, October 19th, at 4 pm! Mike has been singing and playing drums, percussion, and many other instruments since his childhood years. He has known and sung with Natalie Brown since the 5th grade! In his early 20’s, Mike moved to California and toured the United States with the Willie Aames (Eight is Enough) band. Continuing to perform throughout his life, Mike now fronts his own 20-piece Motown-style horn band Jumptown, produces the Crossroads Music Festival in Leesburg, Virginia, and has been performing with the ColyerBrown Group since 2016 up and down the East Coast.
Mike will be singing lead and background harmonies with Circuline, as well as contributing to the Groove with his percussion rig. We’re so excited about our new lineup – we can’t wait to see you at ProgStock 2024!
Circuline is so excited for our upcoming 90-minute show at the International ProgStock Festival!
We’re grateful to have been asked back for the second time, and we’ll be performing our new album, “C.O.R.E.” in its entirety, along with some previous favorites and new live features!
The Bad News: Due to overwhelming demand of her own band Kyros, and her recently acquired and remodeled London-based recording complex Sensible Music Studios, Shelby Logan Warne has decided she cannot be “performance ready” on bass for 10 days of travel, rehearsals, and the Circuline show at ProgStock. We as a band are sorry that is not a possibility at this time, and we hope to perform live with her in the future, when the time is right. We support her decision, and will be seen in the audience at Kyros’s Friday night performance at ProgStock. Shelby will be available to sign autographs with Circuline at the merch table, following our Saturday night performance on October 19th.
The Good News: Having toured with Circuline in 2014, playing on and mixing our first studio album “Return”, appearing as a Guest Guitarist on our second studio album “Counterpoint”, and co-writing two songs on our new album “C.O.R.E.”, Matt Dorsey has been an “almost-band-member” since the inception of this band. Matt will be filling in for Shelby on bass and acoustic guitar for our 2024 ProgStock performance!
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.
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.”
~
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.
