S K I N
reviews
PROG (UK)
The current popularity of bands like Anathema and Gazpacho points to the likelihood that universal truths are best expressed via big melodies and a shimmering cloak of melancholy. Once you've grabbed people by their heartstrings, it seems, there's really no need for all that excessive technical wizardry.
PANIC ROOM are resolutely allied to this idea too. 'S K I N' is not an album that ever strays far from a traditional rock format; it's power lies in the simplicity of the tales told, the inclusive sweep of it's melodic core and the exquisite combination of strength and fragility that is Anne-Marie Helder's unique voice.
Increasingly acknowledged as frontrunners in the British prog firmament, PANIC ROOM arrive at their third album knowing that a huge audience is there for the taking. What they do so brilliantly here is gently expand and augment the sound they established on 'Visionary Position' and 'Satellite' while cranking up the emotional volume. 'Song For Tomorrow' is a sumptuous and beguiling opener; all somnambulent lead guitar melodies and spine-tingling crescendos, it owes a considerable spiritual debt to Marillion but never sounds like anything other than a fiercely distinctive statement of intent. Similarly, 'Chameleon' offers a gorgeously restrained blend of pathos and power. Driven tastefully along by a persistent rhythmic pulse and the shadowy thrill of distant violins, it sounds simultaneously familiar and subtly odd.
The beautifully sinister 'Tightrope Walking' with it's rippling analogue keys and air of oppressive sobriety, provides a glorious showcase for Helder. She has an extraordinary gift of inhabiting her lyrics and allowing melodies to pour directly from within. It's a jaw dropping seven minutes and quite possibly this band's finest moment to date. Sparse and faintly unhinged, the sublime 'Velvet & Stars' again emphasises that PANIC ROOM are at their best when taking an experimental punt or two.
The folk-hued shuffle of 'Freefalling' mixes another delicate Helder performance with twinkling piano and upright bass.
The final two songs - the surprisingly muscular 'Hiding The World' and the mournful closer 'Nocturnal' are affecting and beautifully played. Panic Room are edging closer to being something very special indeed.
(Review by Dom Lawson)
PANIC ROOM are resolutely allied to this idea too. 'S K I N' is not an album that ever strays far from a traditional rock format; it's power lies in the simplicity of the tales told, the inclusive sweep of it's melodic core and the exquisite combination of strength and fragility that is Anne-Marie Helder's unique voice.
Increasingly acknowledged as frontrunners in the British prog firmament, PANIC ROOM arrive at their third album knowing that a huge audience is there for the taking. What they do so brilliantly here is gently expand and augment the sound they established on 'Visionary Position' and 'Satellite' while cranking up the emotional volume. 'Song For Tomorrow' is a sumptuous and beguiling opener; all somnambulent lead guitar melodies and spine-tingling crescendos, it owes a considerable spiritual debt to Marillion but never sounds like anything other than a fiercely distinctive statement of intent. Similarly, 'Chameleon' offers a gorgeously restrained blend of pathos and power. Driven tastefully along by a persistent rhythmic pulse and the shadowy thrill of distant violins, it sounds simultaneously familiar and subtly odd.
The beautifully sinister 'Tightrope Walking' with it's rippling analogue keys and air of oppressive sobriety, provides a glorious showcase for Helder. She has an extraordinary gift of inhabiting her lyrics and allowing melodies to pour directly from within. It's a jaw dropping seven minutes and quite possibly this band's finest moment to date. Sparse and faintly unhinged, the sublime 'Velvet & Stars' again emphasises that PANIC ROOM are at their best when taking an experimental punt or two.
The folk-hued shuffle of 'Freefalling' mixes another delicate Helder performance with twinkling piano and upright bass.
The final two songs - the surprisingly muscular 'Hiding The World' and the mournful closer 'Nocturnal' are affecting and beautifully played. Panic Room are edging closer to being something very special indeed.
(Review by Dom Lawson)
FIREWORKS (UK)
There comes a time as 'S K I N' unfolds - for me it was midway through the haunting piano-led second track 'Chameleon' with it's almost ethereal vocals and unexpected coda - when you suddenly realise you're listening to something quite extraordinary.
With it's beguiling simplicity, stunning fragility and overt beauty, PANIC ROOM's latest album is an undeniably, unbelievably exceptional body of work. In the space of just over an hour the band unhurriedly unveil eleven compositions of such opulence that you have to wonder just how much feeling, how much emotion a single album can acrue. Hope and despair, passion and indifference, light and dark... it's all here, backed by some of the most evocative music and soul-stirring vocals you might ever get to hear.
There's so much to commend on this album, it;s like Christmas come early.
Notwithstanding the aforementioned 'Chameleon', there's the delightfully discreet 'Freefalling'; the plaintive title track which sees the band tugging at every heartstring; and the poignant 'Nocturnal' which takes the album to a close with a masterful and unexpected piano break followed by an understated guitar work-out and a wash of orchestration.
Meanwhile the more upbeat material like 'Screens', the riff-driven 'Hiding The World' and opener 'Song For Tomorrow' show that Panic Room can gear up and kick out when they choose.
And amidst all this 'Promises' comes over all Bryan Adams-y with a nod to 'Run To You', before powering up and layering on the emotion with what is truly a stunning vocal performance from Anne-Marie Helder.
'S K I N' is more than an album, it's a delight for the senses, brave and masterful, timid and submissive. As a point of reference it's more progressive rock than progressive metal, more Anathema than After Forever; in a recent interview in Cherry Red's own magazine Helder pointed out that she likes to describe PANIC ROOM's music as a "voyage of discovery'... and I'm not going to argue with that.
(Review by JOHN TUCKER)
With it's beguiling simplicity, stunning fragility and overt beauty, PANIC ROOM's latest album is an undeniably, unbelievably exceptional body of work. In the space of just over an hour the band unhurriedly unveil eleven compositions of such opulence that you have to wonder just how much feeling, how much emotion a single album can acrue. Hope and despair, passion and indifference, light and dark... it's all here, backed by some of the most evocative music and soul-stirring vocals you might ever get to hear.
There's so much to commend on this album, it;s like Christmas come early.
Notwithstanding the aforementioned 'Chameleon', there's the delightfully discreet 'Freefalling'; the plaintive title track which sees the band tugging at every heartstring; and the poignant 'Nocturnal' which takes the album to a close with a masterful and unexpected piano break followed by an understated guitar work-out and a wash of orchestration.
Meanwhile the more upbeat material like 'Screens', the riff-driven 'Hiding The World' and opener 'Song For Tomorrow' show that Panic Room can gear up and kick out when they choose.
And amidst all this 'Promises' comes over all Bryan Adams-y with a nod to 'Run To You', before powering up and layering on the emotion with what is truly a stunning vocal performance from Anne-Marie Helder.
'S K I N' is more than an album, it's a delight for the senses, brave and masterful, timid and submissive. As a point of reference it's more progressive rock than progressive metal, more Anathema than After Forever; in a recent interview in Cherry Red's own magazine Helder pointed out that she likes to describe PANIC ROOM's music as a "voyage of discovery'... and I'm not going to argue with that.
(Review by JOHN TUCKER)
ROCK SOCIETY (UK)
PANIC ROOM left themselves a mammoth task to deliver a third album to match the quality of 2010's 'Satellite', but they have been more than equal to the challenge and released another masterpiece which may even turn out to be even better on repeated listenings. For me the album is not quite as dark as it's predecessor, it has it's dark moments but overall it has a lighter feel and June seems an appropriate release date as several of the numbers have a touch of summer about them. As always, they are never a band to be tied to just one genre and this is an album of differing styles, but of course there is plenty for us progressive rock fans.
The album opens with the first of several epics and also one of the rockiest tracks, 'Song For Tomorrow', a well structured number with a powerful guitar led intro, the tempo then dips for Anne-Marie Helder's beautiful vocals and the track continues in this vein of light and shade. It has a catchy chorus and I love Jonathan Edwards' harpsichord style keyboards and the at times tribal like drum work from Gavin Griffiths. I really like the dreamy tranquil feel of 'Chameleon' with it's violin sounds and chilled out guitar work that just washes over you while another highlight, with the band throwing in a touch of Gary Numan style electronic vibe, is 'Screens', combined with bursts of rock guitar, this is a mix that works surprisingly well.
If the band are looking for a single from this release in my opinion they should look no further than 'Chances', for me the album's stand out number, catchy, light and breezy with that summer vibe I was talking about with superb Spanish flamenco style guitar by Paul Davies. 'Promises' begins with Stone Roses style guitar and this medium paced rocker also features a superb bass line by Yatim Halimi, plenty of keyboard work and really builds in intensity for a grandstand finish, while 'Velvet & Stars' is a gentle piece combining acoustic guitar picking with some exquisite vocals by Anne-Marie. a delightfully simple uncluttered track. 'Hiding The World' is another of the tracks with a rock edge featuring plenty of crunching lead guitar and rock out drumming and it closes in a very different style with a short almost classical/choral vocal section by Anne-Marie.
Another triumph, a stunning release without a weak link by one of the more innovative bands around, the usual mix of eclectic styles, superb songwriting craft and a band of individually world class musicians who work so well together.
The album opens with the first of several epics and also one of the rockiest tracks, 'Song For Tomorrow', a well structured number with a powerful guitar led intro, the tempo then dips for Anne-Marie Helder's beautiful vocals and the track continues in this vein of light and shade. It has a catchy chorus and I love Jonathan Edwards' harpsichord style keyboards and the at times tribal like drum work from Gavin Griffiths. I really like the dreamy tranquil feel of 'Chameleon' with it's violin sounds and chilled out guitar work that just washes over you while another highlight, with the band throwing in a touch of Gary Numan style electronic vibe, is 'Screens', combined with bursts of rock guitar, this is a mix that works surprisingly well.
If the band are looking for a single from this release in my opinion they should look no further than 'Chances', for me the album's stand out number, catchy, light and breezy with that summer vibe I was talking about with superb Spanish flamenco style guitar by Paul Davies. 'Promises' begins with Stone Roses style guitar and this medium paced rocker also features a superb bass line by Yatim Halimi, plenty of keyboard work and really builds in intensity for a grandstand finish, while 'Velvet & Stars' is a gentle piece combining acoustic guitar picking with some exquisite vocals by Anne-Marie. a delightfully simple uncluttered track. 'Hiding The World' is another of the tracks with a rock edge featuring plenty of crunching lead guitar and rock out drumming and it closes in a very different style with a short almost classical/choral vocal section by Anne-Marie.
Another triumph, a stunning release without a weak link by one of the more innovative bands around, the usual mix of eclectic styles, superb songwriting craft and a band of individually world class musicians who work so well together.
MY FAVOURITE FLAVOUR (UK)
- Cherry Red Records Magazine
'S K I N' is the latest album from Classic Rock Prog poll-winners PANIC ROOM and is one of the most eagerly awaited albums of the year.
It's a dark and shimmering jewel featuring 11 new and original tracks which all bear the hallmark sound of Panic Room -
both powerful and intimate, passionate and playful, epic and yet truthful and heartfelt.
The album has a vast and expansive feel and there are moments of intense power, heart stopping gravity and delicate beauty.
A stunning collection of songs, all telling a story of their own, the album has a definite feel and continuity at the same time;
a distinct mood of it's own.
Highlights include 'Song For Tomorrow', 'Chameleon' and 'Tightrope Walking'.
GET READY TO ROCK (UK)
'S K I N' could well be the album that defines PANIC ROOM.
The debut album in 2008 saw them finding their feet away from the prog colossus that was Karnataka, but was a worthy first step; whilst 2010's 'Satellite' saw the band further outlining their brand of organic, soulful and melodic prog that is also commercial and accessible at the same time.
Once again the band's sound is elevated by the wonderful vocals of Anne-Marie Helder who, together with Jon Edwards on keyboards, has written most of the album. In places she sounds like Kate Bush in a full blown prog rock band, and the album's first standout (of many) is 'Chameleon' enhanced by a string arrangement performed by The Larkin Quartet.
And 'Chameleon' is a fair description of the band - able to switch effortlessly from the dark and pondering, to the more elevating...
Although 'Hiding The World' stands out as the only really 'rocky' track, whilst still managing to retain the core elements and values of the album (and band).
In terms of consistency, 'Nocturnal' maintains the quality right to the end - although the wonderful elastic keyboard/guitar interplay that worked so well on 'Sandstorms' (on the bonus disc version of 'Satellite') is only hinted at in the mid-section breakdown where strings provide the counterpoint.
The use of strings is extensive on the album and gives the overall feel of 'Skin' one of gravitas and melancholia (never more so than on the title track);
but they are often deployed in a novel way - the entrée to 'Screens' leads us in to a funky synth-led rhythm, and the overall feel of 'Freedom To Breathe' or '5th Amendment' on 'Satellite' (although with overtones of Europe's 'Catch That Plane'!).
'Chances' on the other hand is driven by an infectious Spanish-sounding acoustic riff.
'Tightrope Walking' takes a little time to work its charm, but as with the album as a whole it demands and rewards repeated listening.
'Promises' returns the band to one of the more immediate pieces, and after the brief respite of 'Velvet & Stars' (with just Helder and Edwards' guitar). 'Freefalling' pushes the catchy quotient upfront again.
Throughout, the musical standards are high - with now resident bassist Yatim Alimi and Gavin John Griffiths providing rock steady rhythms and Paul Davies always tasteful guitar.
One criticism that has been levelled at the band - unfairly in my opinion - is that they are not the best self-publicists in an age which demands it;
but now in the Esoteric camp and signed to their Antenna offshoot, they have found a resourceful label that can maybe push them to the next level.
And perhaps now there will be a focus away from Mostly Autumn for a couple of the band members. The future must surely lie here.
It might also be wrong to pigeon hole PANIC ROOM as 'prog' since, like its predecessor, 'Skin' is simply an album full of well constructed, attractive, and durable tunes that wouldn't - in better days - sound out of place on BBC Radio 2.
In that sense, this is truly wonderful stuff that demands a wider audience.
****½
Review by David Randall
The debut album in 2008 saw them finding their feet away from the prog colossus that was Karnataka, but was a worthy first step; whilst 2010's 'Satellite' saw the band further outlining their brand of organic, soulful and melodic prog that is also commercial and accessible at the same time.
Once again the band's sound is elevated by the wonderful vocals of Anne-Marie Helder who, together with Jon Edwards on keyboards, has written most of the album. In places she sounds like Kate Bush in a full blown prog rock band, and the album's first standout (of many) is 'Chameleon' enhanced by a string arrangement performed by The Larkin Quartet.
And 'Chameleon' is a fair description of the band - able to switch effortlessly from the dark and pondering, to the more elevating...
Although 'Hiding The World' stands out as the only really 'rocky' track, whilst still managing to retain the core elements and values of the album (and band).
In terms of consistency, 'Nocturnal' maintains the quality right to the end - although the wonderful elastic keyboard/guitar interplay that worked so well on 'Sandstorms' (on the bonus disc version of 'Satellite') is only hinted at in the mid-section breakdown where strings provide the counterpoint.
The use of strings is extensive on the album and gives the overall feel of 'Skin' one of gravitas and melancholia (never more so than on the title track);
but they are often deployed in a novel way - the entrée to 'Screens' leads us in to a funky synth-led rhythm, and the overall feel of 'Freedom To Breathe' or '5th Amendment' on 'Satellite' (although with overtones of Europe's 'Catch That Plane'!).
'Chances' on the other hand is driven by an infectious Spanish-sounding acoustic riff.
'Tightrope Walking' takes a little time to work its charm, but as with the album as a whole it demands and rewards repeated listening.
'Promises' returns the band to one of the more immediate pieces, and after the brief respite of 'Velvet & Stars' (with just Helder and Edwards' guitar). 'Freefalling' pushes the catchy quotient upfront again.
Throughout, the musical standards are high - with now resident bassist Yatim Alimi and Gavin John Griffiths providing rock steady rhythms and Paul Davies always tasteful guitar.
One criticism that has been levelled at the band - unfairly in my opinion - is that they are not the best self-publicists in an age which demands it;
but now in the Esoteric camp and signed to their Antenna offshoot, they have found a resourceful label that can maybe push them to the next level.
And perhaps now there will be a focus away from Mostly Autumn for a couple of the band members. The future must surely lie here.
It might also be wrong to pigeon hole PANIC ROOM as 'prog' since, like its predecessor, 'Skin' is simply an album full of well constructed, attractive, and durable tunes that wouldn't - in better days - sound out of place on BBC Radio 2.
In that sense, this is truly wonderful stuff that demands a wider audience.
****½
Review by David Randall
DEAD EARNEST (UK)
A prog-rock quintet for whom this is their third album and of which their vocalist, Anne-Marie Helder, has been given the accolade of "Classic Rock Prog' s Female Vocalist of the Year" for 2010 and 2011 - all of which gives you the right to expect an album that's going to blow your sox off.
Sure enough, she does have a very strong voice - pure, in tune, soaring to great heights, and capable of transcending the scales to breathtaking degree, delivering the songs without faltering to one degree.
From the soft focus of"Chameleon" through the strident sultriness of "Chances" to the surge of "Hiding The World", Helder is a singer whom you simply can't fault for her performance on the 11 tracks on this album.
The band - the traditional prog quintet of keys/synths, bass, drums and guitars, provide all the hallmarks that you'd expect from a modern prog album - lashings of keys, orchestral sounding backdrops, delicate piano one minute, canyon-sized synths the next – guitars that run the gamut from softly strummed to roaring riffing, with a rhythm
section that's as solid as it is crunchy, as driving as it is dramatic, all wrapped up in a production that's horizon-spanning to eye-popping excellence.
The songs are written and arranged to provide drama, passion, delicacy, drive, dynamics - tons of dynamics - tension, sumptuous splendour and massive melodies, huge harmonies, rocket-like riffs and mesmerising delivery from all concerned.
Now the next line, on first hearing, was going to be "but please god - it's sooooooooo boring!!! - I mean to say, it's crystal clear and clean to the point of clinical - I've seen more dirt on a nun's habit - it's called prog-rock - so where on earth is the rock".
Then I made the mistake of listening to it again -
I started to like "Screens" - I found myself absorbed to the sultry mood of "Tightrope Walking"...
I realised that "Hiding The World" riffs to high heaven, and found myself falling under the spell of this darned woman doing the singing.
You then get to see why they called it "SKIN" - give it time, and the damn thing gets right under yours, and if you play it enough, there's no way back-
you're hooked.
Pain in the freakin' ass - I'm gonna have to keep playing this now. Just don't tell the neighbours!!
Andy Garibaldi (Dead Earnest)
Sure enough, she does have a very strong voice - pure, in tune, soaring to great heights, and capable of transcending the scales to breathtaking degree, delivering the songs without faltering to one degree.
From the soft focus of"Chameleon" through the strident sultriness of "Chances" to the surge of "Hiding The World", Helder is a singer whom you simply can't fault for her performance on the 11 tracks on this album.
The band - the traditional prog quintet of keys/synths, bass, drums and guitars, provide all the hallmarks that you'd expect from a modern prog album - lashings of keys, orchestral sounding backdrops, delicate piano one minute, canyon-sized synths the next – guitars that run the gamut from softly strummed to roaring riffing, with a rhythm
section that's as solid as it is crunchy, as driving as it is dramatic, all wrapped up in a production that's horizon-spanning to eye-popping excellence.
The songs are written and arranged to provide drama, passion, delicacy, drive, dynamics - tons of dynamics - tension, sumptuous splendour and massive melodies, huge harmonies, rocket-like riffs and mesmerising delivery from all concerned.
Now the next line, on first hearing, was going to be "but please god - it's sooooooooo boring!!! - I mean to say, it's crystal clear and clean to the point of clinical - I've seen more dirt on a nun's habit - it's called prog-rock - so where on earth is the rock".
Then I made the mistake of listening to it again -
I started to like "Screens" - I found myself absorbed to the sultry mood of "Tightrope Walking"...
I realised that "Hiding The World" riffs to high heaven, and found myself falling under the spell of this darned woman doing the singing.
You then get to see why they called it "SKIN" - give it time, and the damn thing gets right under yours, and if you play it enough, there's no way back-
you're hooked.
Pain in the freakin' ass - I'm gonna have to keep playing this now. Just don't tell the neighbours!!
Andy Garibaldi (Dead Earnest)