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, Profil Prog (Quebec) and Philippe Andre (France), for this fantastic review of C.O.R.E. !!
Here is the entire review, translated and reprinted in full below:
“Why is the album called “C.O.R.E.”? The 2014 trio has been enriched for the new album by Dave BAINBRIDGE (IONA, LIFESIGNS & many more) & Shelby Logan WARNE (KYROS), no less, progressive heavyweights in different registers.
I might as well tell you right away, I enjoyed the opening track “Tempus Horribilis” (9/10) the split vocals, the choirs, it’s damn well done in the genre, guitars and keyboards as accompaniment rather than soloists. My favorite track in fourth position “All” (10/10) with a monstrous introduction by Shelby Logan WARNE on bass guitar, modern progressive where all the instruments lead a wild saraband, a big bravo for this one.
The very good “You” and its superb instrumental start, a bit rootsy, Natalie BROWN’s singing chanted more than really sung, energizing and catchy at the same time (8/10) and Dave BAINBRIDGE at the top of his guitar art. The penultimate track “Blindside”, the only one sung by Andrew COLYER, very good by the way is a mid tempo quite west coast that could come out of an album by the EAGLES, POCO or the DOOBIE BROTHERS (9/10), Dave’s guitar really lighting it up from 3:22.
“Third Rail” the shortest track, sounds like a supercharged RENAISSANCE (7/10) good piece, but below on the whole album, even if Alek DARSON (guest) sets it on fire at 2:52. “Say Their Name” begins with delicacy, piano, acoustic guitar and Natalie BROWN’s calm voice before taking off for more energetic from the middle of the song propelled by Darin BRANNON’s drums under the fire of Dave BAINBRIDGE’s six strings (8/10). I found the fifth title “Temporal Thing” a bit messy, listenable without more (7/10), more rock than really progressive, even if the final part is more melodic.
The last word for the last title “Transmission Error” which peaks at nine minutes twenty-two, mid tempo again but totally progressive in its unfolding with a distinguished guest on violins (acoustic and electric) Joe DENINZON who joined a few months ago the legendary American combo of TOPEKA, I named obviously KANSAS, a (9/10) well deserved, a very little sung piece, barely two minutes in its entirety, which requires many listens to be fully tamed, the passage at 7:33 takes us directly to “Song for America”, no less.
Take your time with CIRCULINE, a record that requires patience to be fully appreciated.”
Profil Prog and Philippe – Thank you so much for these kind words.
Thank you so much, Billy Yfantis, for this fantastic review of C.O.R.E. !!
Here is the entire review, reprinted in full below:
“Circuline’s album C.O.R.E. is an exciting journey through the sounds of current progressive rock, combining complicated musicianship with an in-depth respect for the genre’s origins. The album, which has eight tracks, illustrates the band’s ability to combine technical brightness with emotional depth, providing listeners with a musically diverse and artistically challenging experience. Here is a short review of every track:
Tempus Horribilis: The album’s first track, “Tempus Horribilis,” has dreamy synth pads similar to Ozric Tentacles. The production quality is excellent, resulting in a deep, realistic soundtrack with each element distinct. The sophisticated orchestration, which is clearly visible in the mix, is enhanced by Moog noises and a strong bass line. The vocal lines echo the spirit of 1970s Yes, particularly the Close to the Edge period, establishing the groundwork for a pleasant and delightful travel through today’s progressive rock terrain.
Third Rail: Beginning with a gentle interplay of piano and violins, “Third Rail” takes the listener into a ballad mood. Although the Yes influence persists, this music tends toward an emotionally charged song with powerful vocals. While complicated, the music encourages further interaction, providing a musical journey that is meditative and sophisticated.
Say Their Name: This tune uses ethereal synth pads and classical guitar to create a dreamy atmosphere. The strong usage of piano contributes to the ballad’s 1970s inspiration, including additional influences from bands such as Renaissance. The track’s peak is the sudden break at 3:19, when military percussion unexpectedly halts the dream, only to be followed by a prog-infused wrath that is exciting.
All: Beginning with a strong bass line, “All” features the band’s distinctive complicated orchestration. The ethereal nature of the synthesizers goes back to early Marillion, proving Circuline’s commitment to carrying the progressive rock torch with enthusiasm and accuracy.
Temporal Thing: The tune “Temporal Thing” begins with acoustic guitar virtuosity and merges jazz and prog elements to create an emotional ballad. The song stands out for its smooth shifts in pace, scale, and mood, showing the band’s variety and musical depth.
You: “You” adds a contemporary touch to the record, with an electric guitar riff inspired by Tool. The orchestration is heavier here, yet it still keeps an enigmatic and mysterious quality, proving the band’s talent to marry conventional prog components with up-to-date sounds.
Blindside: Beginning with a calm piano, “Blindside” offers a lyrical relief with a folk flavor from its acoustic guitar sections. Despite the gentler tone, prog elements remain, resulting in a lovely ballad that adds depth and variety to the record.
Transmission Error: The album concludes with “Transmission Error,” an outstanding prog piece that reflects Dream Theater’s technical genius. The complex guitar work and jazzy rhythms are well balanced by futuristic synth lines, resulting in a multi-layered piece that epitomizes serious progressive rock.
Each track provides a unique experience, ranging from the dreamy and ethereal to the technically challenging and emotionally powerful. The band’s ability to combine the old and new, paying respect to the genre’s greats while establishing their own path, establishing this album a must-listen for anybody interested in the “progression” of progressive rock.”
An addition, Billy personally wrote this to Circuline bandleader Andrew Colyer: “I was listening to your album with headphones so as to understand the sound of the album and the technical details. You have done an amazing work, especially regarding the mix and mastering! In terms of orchestration, the album is like watching an adventure movie as you do not know what comes up next! Congrats man, you are one of the few people around that keeps releasing professional Prog music.”
Billy – we can’t thank you enough for these kind words.
“C.O.R.E. demands your attention…..The advanced track that caught our attention – and the album standout – is ‘All’ and is a very good example of the band’s musicality. A sense of real propulsion, great keyboard (Andrew Colyer) and guitar interplay and evoking prime-time proggers such as bands like Yes and, more recently, Spock’s Beard……Even morphing into semi-Camel territory…..‘Third Rail’ immediately brings to mind Renaissance, circa ‘Ashes Are Burning’-era, whilst ‘Say Their Name’ continues that …..‘Temporal Thing’ also has a jazz rock thing going on……‘Blindside’ is a little more conventional, fronted by Colyer’s vocal and a pleasing and plaintive Bainbridge solo ushering in some Clare Torry-style hollering (from Natalie, not Andrew!)……It’s certainly an interesting pot-pourri of prog …..this should be filed next to another great slice of recent modern prog.”
Thank you so much to Background Magazine’s Henri Strik and Tracy van Os van den Abeelen, for this FANTASTIC review! We are reprinting it here IN FULL, and if you want to read it on their website, the link is included at the bottom of this post. 😀 ~
For many lovers of progressive rock living in the USA is Circuline a rather well known name. However for those living on the other side of the Atlantic ocean this name doesn’t ring any bells for most of them. They don’t know that they started early 2014 and released already two studio albums. Namely Return (2015) and Counterpoint (2016). This sextet from New York occasionally does some live performance in their country and also wants to climb the stage in Europe. But as with many bands from North or South America it is rather difficult to reach their audience outside their home country and see them face to face. Therefore it is sometimes a good way to come with a live release. This also occurs for Circuline. Therefore they decide to come up with a second live release in their career after putting out Circulive::Majestik back in 2018. So it’s now time to welcome Circulive: New View. It’s a release which is without any doubt a great bundle to own. Why? Because it brings out the audio and video on CD, DVD and Blu-ray in one package. How cool is that!
New View was recorded at the ProgStock Festival October 14th in 2017. It was done in a line up consisting of Andrew Colyer (keyboards / vocals / percussion), Darin Brannon (drums / keyboards), Natalie Brown (lead vocals / percussion), William Spillane (lead vocals / rhythm guitar / percussion), Joel Simches (bass / bass pedals / drums / acoustic guitar) and Alek Darson (lead and rhythm guitars).
The whole release is rather entertaining and gives us a cross-section of their already mentioned two studio albums. There is also one composition written by Sound of Contact, namely Pale Blue Dot. A great version if I may say so. Moreover we have the great Piano Challenge between Andrew Colyer and Darin Brannon. A medley with scraps of classical music as well as excerpts of Tarkus (ELP) and Awaken (Yes). Also nice is The Drum Feature that follows the soundscape-like Forbidden Planet. Instead of just letting the drummer go behind his kit on his percussion, everyone taps, drums or plays on a percussion instrument. Nice for variety and as a show element and is something which Gentle Giant and Lazuli have also done on stage.
For me it is the instrumental parts such as in Fallout Shelter, Forbidden Planet and Stereotypes that appeal to me very much because everyone has mastered their instrument well and radiates pleasure playing. In addition to the pointed but delightful guitar solos, the classical piano playing and the flashy bass playing on the Rickenbacker are particularly striking. Off course it doesn’t mean that the songs in which the two singers are included are the worst compositions done. Both singers have strong voices and add really something to the band.
All in all you can say that the keyboards stand out, and you can tell who is holding the strings here. But the guitar work is not neglected either and supported by an excellent rhythm group.
The DVD contains the same material as the CD, but the Blu-ray offers additional video content: concert with audio commentary, backstage and behind the scenes material, official videos, onstage photo slide show and concert poster slide show. So the fan gets a lot of material here and will be thrilled.
In the end Circuline offers the fan the best-off par excellence but also the perfect live album which will obviously delight all the followers of the group but which will also serve as a starting point for all those who want to discover this great American band. This is a real must for fans of Glass Hammer, Renaissance, Magenta and Yes! And of course for lovers of progressive rock in general! Well done indeed! Next time please get to the other side of the Atlantic!!!
**** Henri Strik (edited by Tracy van Os van den Abeelen)
