Citizen Cain: Discography (1993-2012) [2012, Festival Music]

CITIZEN CAIN originally formed in London in 1982 with Gordon Feenie (drums/flute) and Cyrus (bass/vocals) and shortly after Tim Taylor on guitar. But even though many critics rated them very highly the band split in 1988 and Cyrus returned home to Scotland. Two years later Cyrus met with old guitarist friend Frank Kennedy whom with friends Stewart Bell (drums/keys) and Dave Elam (bass) had a few songs written. After a few months Stewart went onto keys and drummer Chris Colvin was brought in. With Cyrus on vocals and flute CITIZEN CAIN MKII was complete.

In '91 the first demo was recorded and received excellent reviews. The following year their debut album was recorded 'Serpents In Camouflage', but the band were not happy with the result even though SI Music had agreed to release it. The band line-up then changed over the next few years with Alistair MacGregor coming in on guitar and Nick Arkles on drums and finally recruiting Andy Gilmour on bass. With this line-up CITIZEN CAIN recorded 'Somewhere But Yesterday' and was released through SI Music in October '94.

In '96 SI Music went bankrupt, but since their albums have been re-released on the Cyclops label. As you have already guessed CITIZEN CAIN are a progressive rock band from Scotland. In my opinion their influences I would have to say are JETHRO TULL, CAMEL, MARILLION and GENESIS, who seems to be their biggest influence. To me the music is very much in the GENESIS, "Nursery Crymes" / "Foxtrot" / "Selling England by the Pound" era. But don't get me wrong the music on 'Somewhere but Yesterday' doesn't sound dated, far from it. It's highly complex, fresh, exciting and even at times a little amusing and lets face it GENESIS today are not the same band they were all those years ago.

Now even though, CITIZEN CAIN do show some similarities to earlier said progrock bands, what does it matter if the songs being produced are all excellent and you fully get absorbed listening to their albums. Although the comparison comes to the listener's mind right away, they are able to deliver good quality music. Long compositions are constant on their albums. There are some nice key solos and flute, and the instrumental chops are certainly refreshing for a band that's gonna get hammered on the GABRIEL/FISH thing.

~ progarchives

This is one of the prog bands which sounds the most like Genesis of the Gabriel era and Marillion of the Fish era!! First of all, the singer dangerously sounds like Peter Gabriel. The Marillion's album that has this sound and style is definitely "Script from a jester's tear", especially the "He knows you know" track: moog and organ keyboards, although less floating than on the first Marillion's album; the outstanding guitar sounds are surprisingly the same, and this is true for both the rhythmic guitar and the solos. The drums are never monotonous and they are very well played. The bass here is definitely more elaborated: it contributes to give this album strong progressive elements from the old school, with a modern overall sound: this means "Foxtrot" and "Selling England by the pound", modernized! The album is better than the first Marillion's album. What is impressive is the cohesion between all the instruments, forming very unforgettable melodic & complex structures. There are 4 tracks out of 7 which last more than 10 minutes. Please don't say "Well, it is not so good because they copied Marillion!" Marillion has enough suffered from such a bad comment, being compared to early Genesis. Citizen Cain is neither Marillion nor Genesis! They have their own style and sound. Pay attention to "The Gathering": a modern "Supper's ready"/"Cinema Show" medley? Outrageously brilliant!! Don't forget to listen to the absolutely "Cinema Show-esque" quintessential bit of the "Serpents in camouflage" track between 4:28 and 5:40! Regardless of what purists say, I will continue to listen to that gem until I become deaf!

by greenback, progarchives

Tracklist CD1:

1. Stab In The Back (6:49)
2. Liquid Kings (11:25)
3. Harmless Criminal (10:29)
4. The Gathering (11:05)
5. Dance Of The Unicorn (6:27)
6. Serpents In Camouflage (13:23)



Tracklist CD2:

1. Stab In The Back(7:06)
2. Liquid Kings (11:17)
3. Nightlights (4:06)
4. The Gathering (9:51)



Musicians:

- Cyrus / vocals
- Stewart Bell / keyboards
- Frank Kennedy / guitars
- David Elam / bass
- Chris Colvin / drums

Over the years there have been quite a few bands who have been compared to Genesis. Marillion for one, mainly because of Fish's voice, which is quite similar to Peter Gabriel's, and also because of Mark Kelly's keyboards. His playing style in the early days was remarkably similar to Tony Banks's. Then you have IQ, who lots of fans seem to think are in the Genesis vein, although I myself think the similarities are tenuous at best. The Nightwatch are another band often included in that group. And I have to admit they are quite Genesis-like at times, especially through the vocals and guitar work. However, Genesis are unique, and there is not a band in the world who can quite match them for their very Olde English sound, though many have tried, consciously or unconsciously. They are still, after all these years, my favourite prog band ever. The beauty of the lyrics, the mystery in Gabriel's voice, and the total togetherness of the band, all excellent musicians, is yet to be equalled in my book. Genesis are Genesis and other bands are, well, other bands. Now, having said that, I have to say that Citizen Cain, whilst not being Genesis, are undoubtedly the nearest thing to them that I have heard. The vocals of Cyrus are uncannily like Gabriel, and I have never heard a keyboard player play in such a Banksian style as Stuart Bell. Bass and drums are firmly in the Genesis mould, and the guitar, whilst not quite being Hackettish, is played at times in a similar style, especially in the phrasing. The songs on this album are all excellent; long, and complex, but each with an underlying melody. Their structure is definitely in the Genesis style, and even lyrically, they are not unlike their heroes. Don't get me wrong, you can tell instantly that this is not Genesis, and, overall, the songs are more aggressive, and not quite as beautiful melodically. Occasionally the vocals become a little too strong for the music and the whole thing almost goes off key. But in the end it always comes back. The question I usually ask myself when listening to Genesis-like bands is: can I imagine Genesis playing these songs? And, on this album, the answer is - in parts, yes. The Genesis albums that most come to mind here are 'Selling England By The Pound' and 'The Lamb'. This could easily have been recorded around that time. And the songs are so strong and interesting that, if Genesis had never existed, this album would be hailed as a classic, standing up easily on its own merits. It is simply a bloody good record and deserves to be listened to. Do I recommend it? Well, if you are a Genesis fan who can't bare to think of other groups emulating your favourites, then the answer would be no. But, if you are a Genesis fan yearning for more music in that style, to fill the gap left by the demise of your favourites, then the answer is, undoubtedly and wholeheartedly, yes!!! Four stars easily, and, as a future classic that should stand the test of time, five stars ultimately. Just listen to those keyboards, superbly and innovatively played. If only Tony Banks played like that now! Highly recommended.

by chessman, progarchives

Tracklist:

1. Jonny Had Another Face (10:30)
Parallel Lines (1:07)
2. Junk And Donuts (9:19)
An Afterthought (0:21)
3. To Dance The Enamel-faced Queen (10:24)
Beyond The Boundaries (1:03)
4. Somewhere But Yesterday (25:40)
i) Owls (1:47)
ii) Obsessions (5:41)
iii) The Ballad Of Creepy John (3:52)
iv) Echoes-The Labyrinth Penumbra (4:47)
i) All The Sin's Men (4:44)
vi) Farewell (2:31)
vii) A Word In Your Ear (2:18)
5. Strange Barbarians (11:48)
The Mother's Shroud (2:24)



Musicians:

- Nick Arless / drums
- Stuart Bell / keyboards
- Cyrus / lead vocals, flutes
- Andy Gilmour / bass
- Alistair MacGregor / guitars

By mid-90's with Citizen Cain going through a period of success with good albums and sales Mellow Records made a great steal.The Italian label collected the 80's unreleased material of the band at a time when Cyrus was supported by original drummer Gordon Feenie and guitarist Tim Taylor.The recordings date from mid-80's and the title of the archival 96' release was ''Ghost Dance''.

Citizen Cain was always a very dark-sounding band and ''Ghost dance'' is the greatest proof.Although the sound of the band has always been linked with MARILLION and GENESIS, Citizen Cain did have their own style and presented much more haunting atmospheres than the aforementioned bands.Some of the guitar breaks even recalls KING CRIMSON, while plenty of the grooves have a strong RUSH vibe.Sure thing they do not sounded like the mass of Neo Prog bands of early- to mid-80's except of Cyrus' voice, who was another PETER GABRIEL copycat, alas a very good one.The compositions are characterized by the very powerful and deep bass lines of Cyrus along with Feenie's solid drumming and the diverse and sharp guitar work of Taylor.Working as a trio prevented Citizen Cain to have the richest of styles back at the time, so keyboard and flute parts are sparse.However ''Ghost dance'' presents a group full of energy, high dynamics and passion for producing top-gear Progressive Rock with rapid changes and shifting moods.

A nice archival/documental release by Citizen Cain, although I can see many fans of the band prefering their 90's period, when their sound was richer and less raw.Still this one comes recommended, especially for all lovers of the early-80's rough British Prog stylings.

by psarros, progarchives

Tracklist:

1. Plaeatea (1:38)
2. End Of All Songs (8:17)
3. Question Of Sport (6:37)
4. State Of Confusion (4:22)
5. Missionary Position (7:12)
6. Ghost Dance (4:39)
7. Tabernacle Of Hands (8:03)
8. Unspoken Words (5:39)



Musicians:

- Cyrus / bass, voice
- Gordon Feenie / drums, keys, flute, guitar, vocals
- Tim Taylor / guitar, keyboards

Following their definitive tribute to Gabriel-era-Genesis titled "Somewhere but Yesterday" - by the way, one of the best neo-prog recordings ever -, Citizen Cain (a duo of Cyrus and Stewart Bell) decided that it was time to take a bold turn and try to take their musical essence to a different level, a more somber and more labyrinthine one while retaining their usual sense of majestic pomposity. "Raising the Stones" shows the listener a CC more inscrutable than ever before, so it is not a recommended taster for fresh starters; also, it is no surprise that this may come as a shocker for many who genuinely enjoyed any of their first two CDs. The most notable particular feature of this album is the fact that Bell reconstructed his keyboard input, which became a bit less symphonic and much more texturial and eerie, therefore focusing more explicitly on the creation of ambiences and exploring less on melodic lines - this may cause the impression that the songs are build on half-elaborated ideas or something like it. Well, I personally think that this work is masterful, although I only felt rewarded after a number of listens (yes, this was my first Citizen Cain experience). I felt the prologue of 'Last Days of Cain' quite stunning from listen one, but then I felt surprised and confused about what at first seemed to me an incoherent repertoire. Once I nailed it, I discovered that the album's main purpose was to demand the listener a special attention in order to allow themselves be captured by the overtly complex magic that is comprised in it. The main body of 'Last Days of Cain' is based on a melancholy motif, adopting some cleverly subtle chord variations along the way: it is opened by an epic sinister prologue and closed by an enthusiastic up-tempo epilogue. Keyboardist Stewart Bell was also in charge of the drum kit, and he does a stunning job at managing the intricate rhythm patterns and tempo shifts: at times he adds some jazz-oriented nuances to his drumming, as in 'Bad Karma', one of the most impressive numbers of this album. Track 4 recaptures the melancholy vibration of 'Last Days', while track 5 (which comprises some of Bell's more prominent soloing) retakes the bold, counterpointed complexity of 'Bad Karma' in a slightly more explosive manner. Tracks 3 and 6 are interludes assembled with the following tracks ('Corcyra' and 'Ghosts of Jericho Part 1', respectively), so they keep a proper fluidity inside the repertoire. 'Ghosts of Jericho Part 1' is mostly a prog ballad that slows down the somber tension and takes the music to a dreamy plateau; but then comes 'Black Rain/Webs' to bring back some of the overall weird darkness. The epic 'Silently Seeking Euridice' is a splendorous epitome of what "Raising the Stones" is all about: it is another absolute fave of mine, full of mood twists, challenging counterpoints and syncopated time signatures, until the fast paced Celtic-like coda comes in to make the spectacular closure. The festival airs of this final motif serves as a proper ending for a particularly demanding album: I give it 4 - 4.5 stars.

by Cesar Inca, progarchives

Tracklist:

1. (Hells Greedy Children) Last Days Of Cain (13:17)
2. Bad Karma (Monsters And Men) (8:07)
3. First Gate-Open Yet Closed Looking Heaven In The Face (4:06)
4. Corcyra-The Suppliants (6:31)
5. Dreaming Make The World… (11:51)
6. The Last Supper / in Deep Waters (2:29)
7. Ghost's Of Jericho (part 1)(5:24)
8. Black Rain / webs (6:30)
9. Silently Seeking Euridice (13:42)



Musicians:

- Cyrus Scott / vocals and bass
- Stewart Bell / keyboards and percussion
- Andy Heatlie / guitar (#1)

With their astonishingly impressive predecessor "Raising the Stones", Citizen Cain achieved their own stylistic independence with the creation of a signature prog sound based fundamentally on eerie, dense (at times somber and even creepy) ambiences and extremely bizarre chord progressions. It would tale hem 5 years to release the follow- up, "Playing Dead", which continues in a similar vein than the aforementioned album, with an added clear inclination toward the prog metal realms. This new factor comes into the CC sound by courtesy of new member Phil Allen, who lays lots of effective riffs and powerful solos and harmonies among the predominant keyboard paraphernalia: keyboardist- drummer Stewart Bell continues to be the main mastermind of the crucial orchestrations of the whole repertoire, while Cyrus remains a solid Gabriel-esque messenger of doom, darkness and poetic mysticism (once again, great Milton-esque lyrics!!). So, just like "Raising", "Playing Dead" exhibits lots of ethereal synth layers, psychedelic and dissonant Celtic-like fanfares, jazz rock colours in the rhythm section, and an almost obsessive penchant for dazzling complexity. The overall mood conveyed in this album is the most aggressive and harsh in the band's history, while keeping a loyal faith in that confident sense of mysterious exquisiteness that they have been creating so fluidly since their "Somewhere but Yesterday" days. The instrumental opening 'Dirge - Fallen Angels' portrays a fair indication things to come for the next 65 minutes. 'Wandering in Darkness', 'Children of Fire' and the disturbing interlude 'Inner Silence' contain some of the most explosive moments in the album; meanwhile, 'Falling from Semiroth' and 'Sleeping in Penumbra' turn out to be the most sophisticated and pompous numbers in the track list, rolling between the incendiary and the reflective with well-crafted fluidness. The closing nocturne 'Amorantos' conveys a vision of pessimism and desolation in a serene context, linked very coherently to the trial of emotional-intellectual fire that was offered in each one of the previous tracks. In conclusion, through all its somberness and inscrutability, "Playing Dead" is an excellent example of neo-prog stretched out to its most disturbing expresiveness.

by Cesar Inca , progarchives

Tracklist:

1. Fallen Angels 3:20
2. Children of Fire 13:21
3. Shades 4:22
4. Falling From Sephiroth 15:31
5. Rivers of Twilight 7:38
6. Inner Silence 2:38
7. Wandering In Darkness 10:22
8. Sleeping In Penumbra 10:02
9. Eternity 3:29



Musicians:

- Cyrus / bass & vocals
- Stewart Bell / keyboards & drums
- Phill Allen / guitar & backing vocals

I first came across Citizen Cain in 1993 when their debut CD was released by Dutch label SI Music, but in truth they had already been active for some time before that, appearing on the famous compilation 'Fire In Harmony' back in 1985. I was immediately taken by the Gabriel- esque vocals of Cyrus, and the way that the band managed to evoke the spirit and feeling of early 70's Genesis but had brought them into the 90's. I was hooked. Over the years there were some line-up changes, and gradually the output slowed with the last release being 'Playing Dead' in 2002. Like many I never really thought that there would be another album, although I kept in touch with keyboard player Stewart Bell and often asked the question. So, it was both delight and trepidation last year when I heard that the band were recording again. I mean, after all this time was it going to be any good?

When the disc arrived I opened the booklet to see who was involved, and could see just three names ? Cyrus, Stewart and Phil Allen. Annoyingly for me there are no details about who played what, and who (if any) were the additional musicians involved. The Citizen Cain website is still under construction, and the Festival Music site just lists releases so neither are helpful in this regard. I did find a few details on one site where it states that Stewart provided drums as well as keys, Cyrus provided bass (as he did in the early days of the band) and vocals and Phil provided guitars. There is a very simple reason as to why this bothers me, as we need to give credit where credit is due as this is an absolutely stunning piece of work. To put it bluntly, this is one of the finest prog albums you are ever likely to hear.

Put it in the player and immediately the listener is taken aback by the complexity and interplay of the introduction to "The Charnal House". The maelstrom of notes and complicated inter-rhythms gives way to delicate piano and vocals, and one of the most Genesis-like passages of the whole album. Already the listener is deep inside the world of Citizen Cain, and with less than three minutes on the clock there has been musically a lot to digest. The interplay between the musicians, and particularly the way that the melodies and counterpoints are chased and are at times heavily structured and dense, contrast greatly with the simplicity of other phases of the music. And all of this within one song! Stewart's keyboards are a revelation, bringing together a multitude of sounds and styles, often layered, and he would need to be an octopus to be able to replicate this in a live environment.

By the time I got to the end of this album I felt that I had been taken on an incredible musical journey, one with a richness and passion to match anything I have heard in recent years. The only sane thing to do after listening to this is put it back on. The more I have played it the more I have fallen into the spell. So it took 10 years for this one, when's the next? 5/5 in anyone's language.

by kev rowland , progarchives

Tracklist:

1. The Charnal House (4:56)
2. The Long Sleep (12:25)
3. Darkest Sleep / Manifestations (7:09)
4. Spiders In Undergrowth (3:05)
5. The Hunting Of Johnny Eue / Trapped By Candlelight (11:59)
6. Coming Down / The Fountains Of Sand / Delivered Up For Tea / Death And Rebirth (14:53)
7. Do We Walk In The World? (5:10)
8. Lost In Lonely Ghosts (13:43)



Musicians:

- Stewart Bell / Keyboards & Drums
- Cyrus / Bass & Vocals
- Phil Allen / Guitar & Backing Vocals


All thanks go to Pasheka-Pacheka