Murder and Parliament has been reviewed a number of times, mostly positively. Inevitably a couple of reviews have not liked it, but that’s cool. It would be odd if everyone liked the same music. Pleasingly no-one has been unfair, which does sometimes happen in reviews. My last Tom Slatter album ‘Happy People’ was accused in prog magazine of stealing from Steven Wilson’s Hand Cannot Erase, an album that was released after I’d finished writing Happy People…
Anyway, here’s a round-up of reviews, in particular order
1. Five stars out of six over on the Progressor website.
“…if eclectic and varied instrumental progressive rock is your thing, this is probably a production that will interest you…”
2. Jerry Lucky has said very nice things in this short review:
The instruments become the vocals in many respects creating the emotional content and here often times it’s at a hectic pace. When the music isn’t charging down a more rock-inspired path it detours into the more experimental, angular world of the Avant Prog. Intriguing music certainly and fans of bands such as The Fierce and The Dead will find much to appreciate on this disc.
3. Prog Magazine have said nice things, so of course I forgive them for the middling review of Happy People:
…sure enough, Embers is a complete mood change, a beautifully alluring cloud of smoky violin and mournful guitar musings mutating into stargazing dream vistas. Then Clamour’s hooky, heavy riff lifts the atmosphere, and once more all bets are off. When your music has this much character, what are words worth?
4. Alison Reijman Over at Background Magazine is very complimentary, especially about the same track ‘Embers’:
…the stand-out track is Embers, Caulfield’s smouldering violin enriching the dark, smoky textures of this gorgeous mood piece.
5. And Emma Roebuck at Prog Radar also says nice things:
Instrumental albums are never easy, especially when you are a songwriter, and it could so easily have been and album of music “I could not find words for so let’s make an instrumental album”. Instead it shows a side of Mr Slatter that lies hidden too often in his other albums; the composer is exposed here at his most vulnerable and it is all the better for that exposure.