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, 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, PROG Magazine, Jerry Ewing, and Phil Weller, for this fantastic review of C.O.R.E. !!
Here is the entire review, reprinted in full below:
“Revamped proggers return with their most accomplished LP yet.“ “The third album from New Yorkers Circuline is buoyed by the addition of a pair of Brits in the shape of Lifesigns guitarist Dave Bainbridge and Kyros’s Shelby Logan Warne on bass. The songwriting is still handled by the core trio, keyboardist Andrew Colyer, drummer Darin Brannon and vocalist Natalie Brown, but the newcomers aren’t just making up the numbers.
The transition from sky-skimming guitar solo to choral hook in “You” makes it feel like an instant prog classic. “All”, driven by Logan Warne’s intricate bass line, sheds it skin to reveal new layers coloured by sparkling vocal melodies, fusion flavours and classical sprinklings. On “Transmission Error”, aggressive instrumentation locks horns over odd time signatures, while the acoustic “Temporal Thing” blossoms into a Mellotron-glazed finale at home in Mikael Akerfeldt’s record collection.
Naturally, the album offers many spotlights for its individual talent to dazzle. “Blindside” finds Bainbridge peeling off a boldly bluesy solo and “Say Their Name” a chance for Brannon to doff his cap to “Discipline”-era King Crimson as Circuline play every ace up their sleeve.”
PROG, Jerry, and Phil – from the bottom of our heart, we can’t thank you enough 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.
