David Meadows

(Independent Mostly Autumn Forum)

Sunday afternoon gigs are brilliant. Everywhere should do them. In fact, Breathing Space and Marc Atkinson should do a Sunday afternoon residency at Fibbers -- I'll come down every week.

So, this is my first chance to see Breathing Space's new line up. Considering how highly I rated the previous line ups, they've got a lot to live up to. Plus my head is still full of their previous singer's outstanding performance with Mostly Autumn last night. So, no pressure on new singer Heidi Widdop then!

In fact, comparisons are pointless because with Heidi and new guitar player Adam Dawson, Breathing Space sound like a new band. Heidi isn't trying to emulate Olivia, she doesn't need to because her own sound is fantastic on both new and old songs.

Adam Dawson is a surprisingly good fit in the band, too. I say surprising because his own CD (which everybody should be listening to) is a trippy, acoustic affair a million miles away from Breathing Space's hard rock sound. I thought he was a very strange choice when I heard about his joining the band... but I needn't have worried. His electric guitar playing is... well... electric. He can definitely rock, and he fills the songs with some superb atmospheric solos (he absolutely nails The Gap is Too Wide).

The set features a lot of new songs and it's these that confirm this new line up is a winner. The first they play (Unnatural Disaster) could have been a "classic" Breathing Space song -- it's got the guitar/keyboard interplay that made the first album so sublime and the strong rhythms that made the second album so catchy -- and yet it's obviously written for this line up's strengths. With songs like this, the next Breathing Space album will be as good as any the band have produced.

This Breathing Space is a new band. And though I have the greatest admiration for departed members, I think it's a better band.

Geoff Barton

(Classic Rock Magazine)

The handy pocket-sized dictionary of prog is dominated by words such as 'convolution' and 'pretension' - and we wouldn't have it any other way. But occasionally we hanker after a little light relief. Something that soothes rather than assaults the senses. Enter Breathing Space, who combine the worlds of prog, pop and AOR to fine effect.
Below The Radar, the space's third album, is their most accomplished to date characterised by the appropriately breathy voice of Olivia Sparnenn, whose singing is as beautiful as her hair (Get a grip -Ed) the title track sets the scene: a progged-up mix of John Waite, Loverboy and Moonlight Shadow. But mood-changes also abound. The Night Takes You Home is full of fragile melancholy; the piano-led Dusk is the ideal soundtrack to a bout of sombre late-nite reflection; Drowning is like a female-fronted Marillion. They save the best until last: Questioning Eyes begins sparsely then grows in stature, climaxing in an orgy of swirling guitar. Oh - and make sure you stay the course for the surprise ending.

Danny

(Prog-Nose)

It started as a solo album of keyboard player Iain Jennings (Mostly Autumn) which was entitled “Breathing Space”. For the live promotion, he found some musicians and formed a band which he gave the same name as his album. From then on, the band went on as Breathing Space, so this is their second release as a real band.

He didn’t have to look very far, because he used a lot of people we already know. Olivia Sparnenn is certainly known for Mostly Autumn fans, because she’s doing backing vocals since 2005. She has a crystal clear voice, which should conquer everyone’s heart, male or female. ;-) and she is co-writer on seven on the nine songs.

When Mark Rowen, the first guitar player, left the band, he asked Liam Davison of Mostly Autumn and Bryan Josh is never far away, either. (Sometimes live, sometimes during studio sessions or sometimes just doing the catering ;-))) So you would expect an inevitable Mostly Autumn resemblance, but that’s not really true. Of course, there is, because you have a band, with a female vocalist who sings in both bands, but they left out the folky ingredient which is much more present in Mostly Autumn’s music.

Breathing Space plays a mix of pop and rock, which tends to AOR from time to time. They are not afraid of long tracks. (Just listen to the fabulous 9 and a half minute “Questioning Eyes”), so there is a progressive side to the band too, but I would rather call their music ‘classic rock’.

Sometimes it’s a bit too much ‘feel good’ music. You know what I mean, music which puts a smile on your face and it really does. But it doesn’t have to be food for thought on every album you listen to, does it? So this is music with a friendly sound, with great angelic vocals, great ‘Gilmour’ guitar solos and some songs with a steady rock rhythm amongst a lot of semi- and real ballads. Although Iain wrote most of the tracks, the emphasis is not on the keyboards, but they play an important role in his music, especially the Hammond sound.

Breathing Space is a great band, which deserves a place in my list, next to Mostly Autumn, Karnataka and The Reasoning. I can’t think of a better compliment!!!

Cor Smeets

(courtesy of Background Magazine)

The British project Breathing Space is no longer a project. It’s a real band nowadays having a unique style with keyboardist and singer Iain Jennings and Olivia Sparnenn being the nucleus of the band. The line-up has completed by guitarist Liam Davison (Mostly Autumn), bassist Paul Teasdale, drummer Barry Cassells and second keyboardist Ben Jennings. Below The Radar is their third effort in three years after the excellent predecessors Iain Jennings Breathing Space (2006) and Coming Up For Air (2007).

Being both members of Mostly Autumn, Iain and Olivia have a lot of experience in writing good, fine-structured songs with a good melody and beautiful singing. However, the differences between Mostly Autumn and Breathing Space are evident. This time Iain’s keyboards dominate the music instead of Brian Josh’s guitar. Moreover, Mostly Autumn’s music is affected by Pink Floyd and by traditional English folk music. However, two exceptions confirm the rule here: the title track Below The Radar is a good up-tempo song with a nice guitar riff. Drowning, one of the many highlights on this album contains alongside beautiful singing, a masterful guitar solo by Liam Davison. Questioning Eyes, the longest track, starts with Olivia’s singing accompanied by a cello played by guest musician Charlotte Scott. Slowly the song turns into a solid rock song with one acoustic and two electric guitar solos and finishing quietly with Olivia and a piano. Just like the band’s previous releases, this album contains some fine ballads like Lantern For A Smile and The Night Takes You Home. Run For Yourself is sung by Iain, who also has a pleasant voice.

Breathing Space made a very enjoyable album that’s worth listening too for all prog heads who like bands such as Mostly Autumn, Karnataka and The Reasoning. I hope they will be touring in The Netherlands soon, so we can see the band perform for a live audience. I certainly will be there.

courtesy of ProgArchives)

I really enjoyed Iain Jennings' first solo album that was titled Breathing Space, which subsequently evolved rather cleverly into a band name. He then left Mostly Autumn and forged his own path, releasing this third opus featuring the incredible voice of the sultry Olivia Sparnenn (a former and perhaps ongoing Mostly Autumn backing vocalist to the now departed Heather Findlay). Now, let's get one thing perfectly clear, this is not progressive rock at its most explorative, relying instead on a rockier, ultra-tight delivery that is closer to Magenta than anything, highlighting the fabulous vocals and a strong song structure. What makes it such a treat is that the first listen is really not convincing, requiring multiple and focused auditions before rendering a proper reviewer opinion. There is a definite period of adjustment needed to fall into the grasp of their breathing space. The title track blasts with unabashed fury, a solid, concrete ramble that is both merciless and elegant, guitars rasping deliriously and the rhythm section fully turbo-charged, a cool melody and a poppy veneer like a hard version of Renaissance or recent Mostly Autumn. The mood quickly veers into more euphoric environments with the gentler "Clear", a nebulous piece that grooves breezily, a masterful vocal performance as well as a subtle little synth solo from bandleader Jennings complete the deal. Very nice indeed, great car driving music by the way, the method that eventually got me hooked to this record. The sadness drips gently on the gorgeous "Lantern for a Smile", a ravishing melody sung with despairing agony, tainted with some distant horizon of hope. Fans of superb female vocals will not believe their ears, Olivia is a star! Different than Findlay, she actually is just as convincing in the sweeping soft tones as the harder-edged stuff (The only slight Findlay weakness, in my opinion). There is an epic orchestral beauty that now starts taking over the disc, a previously undetected charm that eventually becomes clear, as one of the first of 2 absolute summits "The Night Take You Home" floats gently under the radar, a beguiling musical hypnosis that has that Magenta feel I mentioned earlier, Olivia bellowing a series of magnificent chorus and verse, a serene groove keeping it majestically symphonic thanks to a Jennings keyboard barrage, starring a bluesy organ solo and a slippery synth solo which befits his fame. Absolutely deadly, a fragile piece of exquisiteness, a tune that will stick in your head for many weeks to come. "Run From Yourself" explores the spikier territories Jennings obviously loves, a vast array of reeling organ solos propelled without pity, a deep furrow that rocks along, splitting the vocal duties as well with the crisp Olivia to great effect, a convincing romper that bubbles with vivacity. Hints of classic stuff here, a raucous festival of shivering ivory. The naturally pristine "Dusk" is a short selection laced with grace and elegance, piano and voice combining to reach celestial heights and deeply affect the romantic sensibilities. The colossal electronica of "Behind Closed Doors" is extremely adroit and appropriate, an icy mood kept arctic with brutally cold guitar fills, in ambush of a huge chorus that has "memorable" stamped all over it. A zippy synthesizer lead shrugs with impudence, the mood settling for a vivacious finale, Olivia crooning with intense revelation (sounding close to Maggie Reilly of Mike Oldfield fame). "Drowning" is another cheerless affair, with a despondent vocal line that shrieks with pain, a huge chorus that scours the skies and a delicate piano that puts the head to the pillow. The second summit is the fitting final epic , a lucid nearly 10 minute classic in "Questioning Eyes" where a cello introduces the scintillating Sparnenn voice )"just close your eyes", the Renaissance-like symphonics becoming obvious (a superb acoustic guitar courtesy of Liam Davison, who finally gets out from the shadow of the more flamboyant Bryan Josh). Check out the massive axe solo and see what I mean! Gigantic! What an incredible recording, needing an open-mind and an attentive ear, as well as the right environmental circumstance. Way better and more polished than the last few Mostly Autumn offerings and an essential member of the current British prog scene. Iain Jennings has made the right choices Place with other female fronted bands like Iona, Legend, Nemezis, Strawberry Fields, Panic Room, Karnakata, The Reasoning, Blackmore's Night , Mostly Autumn or Magenta. The packaging is modern and yet breathtaking, bathing in deep green light. I love this album. Near perfection, 5 estrogen blips

IAIN JENNINGS: BREATHING SPACE

The first solo outing from the (ex) Mostly Autumn keyboards player is far from being the all-out “prog” album we thought it might be - instead we have a song-based album featuring seven vari-paced, vocal lead tracks, some of which come from the mainstream side of the Magenta and Mostly Autumn way of doing things, with the majority mainly falling into the romantic ballad style bracket, plus there are two lengthy instrumental cuts as well. Several members of Mostly Autumn (the band that Iain Jennings has just parted company with) are also featured on the album: Liam Davison (guitars), Andrew Jennings (drums) and Bryan Josh (guitars). The vocals on each of the songs are taken by Olivia Sparnenn, who has a very sweet and tender voice that’s ideally suited to the structure of the songs on the album. If the Albion Band and part-time Fairport Convention singer Cathy Lesurf had ever recorded a solo album as a slight departure from her folk-rock activities, and had hooked up with a guy more known for his keyboard work on the prog-rock scene, this would undoubtedly have been close to the result of that pairing. Although Olivia Sparnenn’s slightly higher register voice is not quite as overtly wide-ranging, she sounds uncannily similar to Cathy Lesurf in many respects, but she’s still a wonderful vocalist nevertheless, and her voice glides across the compositions with ease, grace and strength. The songs all have a strong sense of melody and exude plenty in the way of atmosphere, catchy hooks and choruses, while at the same time possessing a real sense of timelessness.

The overall standard of musicianship is high throughout, with one of the highlights coming in the form of the delicate Floydian style guitar work displayed on: ‘No Promises’. The most “progressive” of all the vocal tracks comes near the end, with the eight-minute plus: ‘You Still Linger’, a song with a captivating recurring theme and haunting chorus, with some fine Floydian guitar from Josh during the final two minutes. Other bursts of Floydian-styled lead guitar provide an extra touch of a more “prog-rock” nature on some of the other tracks, whilst the rhythm section acts as a firm foundation.

Iain Jennings does the arrangements himself and provides the majority of the lead work, using piano and synthesizers, but only really gives himself the chance to really come right forward and shine on the ivories for the instrumental tracks, opting to remain as an integral part of the overall “band” sound on the vocal tracks. Oddly enough, very good as they are, it’s the two instrumentals that are the odd ones out on the album. If this had been a truly “prog-rock” album, then they’d possibly have been more apt in the overall picture, but to be honest, although they’re substantial and are set at as languid a pace as the rest of the album (well, the closing one is anyway), you feel that with the 7 vocal tracks being in the style they are in, the two instrumentals are somehow out of place in the overall feel of the rest of the album in general. If you were to ask me: is it prog-rock with folk elements? - The answer is a definite “no” – if you ask me: is it folk with prog-rock elements? The answer is also “no” – It’s just an album of good songs that are superbly sung and well arranged, and well recommended for all that.

Stephen Lambe

(Sonicbond)

and Russ Elliot

Nov 2005

Solo albums from well-known instrumentalists can be a hit and miss affair, especially as they are often used as a vehicle for self-indulgence or musical virtuosity above musical content. This is not true, however, of Mostly Autumn keyboard player Iain Jennings, who has instead chosen, in the main, to showcase his song writing ability on Breathing Space (IJ01, 2005). Fans of Mostly Autumn will remember that Iain has made some telling contributions to the Mostly Autumn repertoire, including to the remarkable "The Gap Is Too Wide, " the hard rocking "Never the Rainbow" and the superb instrumental "Distant Train."

Though Bryan Josh makes a couple of brief appearances, the album is also an opportunity for Liam Davison to show off his considerable talents as a versatile and atmospheric guitarist, while Iains brother Andew Jennings, as one would expect, plays all the real drums. Most of all, the album is a showcase for the stunning vocal ability of newcomer Olivia Sparnenn. Olivia will be familiar to those who have seen Mostly Autumn live during 2005, as she has often provides backing vocals. Her voice lacks the warmth of Heather Findlay, but makes up for it with her stunning range and power.

"Forgive of Surrender" is a good opening, an excellent up-tempo song, leading into a synth-dominated coda. Gentle piano introduces the stunning ballad "I’ve Been Thinking," beautifully sung by Olivia. "Shades of Grey" uses programmed percussion to good effect, giving the song a hypnotic, eastern quality, while Iain provides a superb synth solo with a similar feel to the one in "Mother Nature." "No Promises" begins gently with piano and vocal, before building into a satisfying ballad with a brief, restrained solo from Bryan.

"Man Made Circles" is a hypnotic, driving instrumental allowing Liam and his effects board full reign to let go, building gradually in intensity over seven minutes. It is a nice idea, which grows on the listener after several plays. A shimmering keyboard introduction heralds "Wasted All the Time," a gentle first verse building into a powerful rock chorus with a lovely hook. The glorious "Belief" is an album highlight, a lovely piano riff introducing an emotive ballad featuring a typically heart-breaking solo from Bryan, and a gorgeous led vocal from Olivia.

Iain clearly specialises in big, emotional ballads, because he follows "Belief" with yet another one--the superb "You Still Linger," with the tension of the verse releasing itself in a beautifully sung, Beatlesque chorus. The effect is slightly diminished by a rather unnecessary instrumental coda, which nevertheless features some fine guitar from Liam. "Escape," another instrumental, closes the album, borrowing from both modern trance music and the ambient soundscapes of Vangelis and Tangerine Dream for its template.

Overall, this is an excellent solo effort from a hugely talented and generous musician. The production leaves a little to be desired in places, though the largely synthetic "Escape" is stunning, and structurally, the album is a little ballad-heavy. Having said that the slow songs are all so good, one wonders which he could have dropped. Certainly, the keyboards, though prominent, are not overbearing, and in Olivia Sparnenn,  Iain has unearthed a real talent that we hope to hear a great deal more from in the future.

BREATHING SPACE: COMING UP FOR AIR

The new album from Breathing Space, an off-shoot of Mostly Autumn, one of the progressive rock genres finest new band’s over the past few years, is here now, and it’s a must for all those of you out there with a liking for melodic, symphonic rock songs that have classy female vocals. The line-up for this, the 2^nd album from Iain Jennings’ (ex Mostly Autumn) new band is: Olivia Sparnenn (vocals), Mark Rowen (guitars), Paul Teasdale (bass), Ben Jennings (keyboards) and Barry Cassells (drums), with Jennings himself on keyboards.

This is a very impressive album indeed, and there’s a great sense of flow and maturity about ‘Coming Up For Air’ that was perhaps only starting to develop on the first album. The songs are infectious and vari-paced, with a strong sense of melody, catchy hooks and haunting choruses always part of each and every performance. Some fall into the mainstream side of the Magenta and Mostly Autumn way of doing things, whilst still exuding plenty in the way of atmosphere and mystique. The standard of musicianship is extremely high, but all the players are seen as an integral part of the overall “band” performance rather than being individual virtuoso performers, with the outstanding feature being Olivia Sparnenn’s vocals, which are just sensational! She has a very sweet but strong and tender tone that’s ideally suited to the structure of the songs - a wonderful voice that glides across the compositions with ease, grace and strength. The title track opens the album with a classy song that hooks you in almost immediately, but there’s plenty of room left for it to be a big grower too. The chorus is particularly strong, with the harmonies, keyboards and guitars all sounding great and getting the album off to a vibrant and catchy start. ‘When I Hold On To You’ is another quality rock song that equals its predecessor in terms of its instantaneous appeal, because yet again there’s a strong chorus designed to capture your attention with the vocal handled beautifully by Olivia Sparmenn’s sweet, but commanding voice

‘On The Blue Horizon’ is an anthemic ballad, and quite unbelievably, the chorus is yet again superb, demonstrating the on-going high standard of song-writing starting to emerge as the norm on this album. There’s a stunningly melodic electric guitar solo in the second half that also deserves a special mention. ‘Time Tells All The Unknown’ starts out all ethereal and atmospheric with haunting keyboard textures and sensitive vocals, but then bursts into life with another huge vocal performance from Sparnenn for another perfectly produced and tuneful rock-song.

‘Rain’ Song’ starts out as another ethereal ballad, with just vocal and piano leading the way, before the guitar and rhythm section stylistically join in and take up a gentle melodic flow that gradually builds the track up in terms of both power and emotional levels.

‘The Senses’ is more of a rocker that builds quite majestically, before breaking for a sax solo in the middle.

‘Don’t Turn A Blind Eye’ starts out as an acoustic guitar lead ballad, but then the rest of the band strike up and take it up a level or two into another fine rock ballad. ‘Head Over The Water’ starts out sounding like a modern Genesis song, mainly because of the keyboard led melody and percussion sound, but the comparisons ends there, as we enter another catchy tune with a strong chorus, and another sax solo to savour as well.

‘Searching For My Shadow’ is a ballad that is beautifully orchestrated by Jenning’s keyboard skills, sung gracefully by Olivia with a passion of feeling that many of her rock peers would be proud of. The song slowly builds in strength and on to a fitting finale of sweeping electric guitar and string synth backdrop.

‘Turn The Tide’ is the only instrumental on the album – well it’s half-instrumental really! It’s the most “progressive” track on the album – the kind of thing you might hear on a Tony Banks solo album with an acoustic guitar-lead melody dominating the keyboards, until a roll of the drums & bass in the middle starts a slowly building finale where Olivia’s gorgeous flowing vocal soars high in heavenly fashion over clouds of majestic choral keyboards and strings.

 This is not the kind of album where just because he formed the band, the keyboards player takes the dominant roll – quite the opposite in fact – because Iain Jennings keeps his ego well in check and plays well within the structure of the band as a whole. Mark Rowen’s guitar work is not that far away from that of the guy from Mostly Autumn, but his style is less in your face and Floyd-like, but like Jennings, he stays well within the operational confines of each the songs, making his solos really count when they are called for. The same applies the rest of the band – in fact, this is just one tight unit of five musicians and a rather splendid vocalist performing an album of 10, quality, melodic, flowing songs that fall somewhere between the stalls of “symphonic prog” and simple, down to earth pop-rock of a style that is probably nearest to what Heart were all about at their peak.

Apart from the first part of the last track on the album, there are no lengthy extended instrumental workouts, no complex chord changes and no big time signature changes to speak of. Apart from short break solos, there is very little space for out-front virtuoso playing, leaving Olivia Sparnenn’s voice to take most of the limelight, and so it should be, because she is a bit of a revelation, handling all these songs like a true professional. However, singers are only ever as good at the songs they get to sing, but as she has a sizeable hand in the lyric writing department as well, she has made sure there are plenty of really good songs to get stuck

You have to applaud an album, where good as it might be musically with 100% spot-on sound and production, the vocalist is really up for it as well – This is one such album – one that certainly ticks all the right boxes and more, and essential if you like good strong songs with powerful and infectious choruses.

Stephen Lambe

(Sonicbond)

Dec 2007

BREATHING SPACE: COMING UP FOR AIR

Iain Jennings' 2005 Breathing Space album (review) was happily received by Mostly Autumn enthusiasts despite disappointment that the keyboard player had left the band. The nine-track collection of keyboard-rich numbers veered away from the Mostly Autumn sound. The project included contributions from Olivia Sparnenn (vocals), Liam Davison (guitars), Andrew Jennings (drums) and Bryan Josh (guitars). Jennings continued to develop material while Olivia continued to sing backing vocals for Heather Findlay at Mostly Autumn.

The Breathing Space lineup has evolved around Jennings (keyboard and synthesizer) and Sparnenn (vocals) with the welcome addition of Mark Rowen (guitar), Paul Teasdale (bass), Ben Jennings (keyboards and percussion) and Barry Cassells (drums and percussion). The band's live work over the last two years has expanded their audience across and outside the United Kingdom. The band's new album Coming Up For Air (Breathing Space (UK) BSO701CD, 2007) has 10-tracks of song-based progressive rock certain to delight the most critical listener.

Olivia Spermann's well-trained crystalline voice is clearly as at home with the Breathing Space as it would be gracing a West End production. Writes Heather Findlay, "From a very early age Olivia knew that she wanted to be a singer. She has been lucky enough to be surrounded by music for as long as she can remember, her father being an accomplished drummer being in various bands and her uncle is also a vocalist. Her first live performances began when she was the tender age of just thirteen and has since continued to captivate audiences with her stunning voice. The age of thirteen also opened the door to Olivia’s debut studio performances. At fifteen she went on to join an already established well-respected pop/rock band from York singing both original material and an array of vocally demanding tracks from the likes of Heart and Guns and Roses."

After a period of intense French and German studies at college Olivia decided to dedicate even more time to her voice, song writing and playing the guitar and so began working with various new musicians and songwriters in broadening her own skills therein. On an international scale, Olivia worked with Danish songsmith, Soeren Itenov whose group successfully charted in Denmark. Upon her return to the UK, she based herself in the south of England for some months collaborating and refining songs with a writer who has worked with artists such as Bonnie Rait and the Eagles. Olivia joined Breathing Space in time for the recording of the self-titled album, but has really found her voice in the arrangements of Coming Up For Air.

Coming Up For Air is a significant step forward for Breathing Space. The album is a cohesive collection of well-produced tracks ranging between upbeat rockers and soft ballads. The album is vocally rich, Olivia singing solo or self-harmonizing across her vast range and delivery tremendous power to the tunes. Well arranged instrumentals never swamp the vocal work although there are some sections where an extra bit of vocal in the final mix would have been appreciated. Guitar and keyboard solos echo choruses but never overwhelm or bore the listener. Tracks flow nicely from one to another building to crescendos and gently returning to heartfelt ballads.

Many listeners will like the West End-sounding edge that some of the songs on the album deliver. For example, the opening and title track begins with just a soaring voice atop piano before opening into a rocking and memorable chorus. Olivia's voice and Iain's keys work especially well together. We admired the way that Jennings bookended the album with a return to this theme in the closing number "Turn Of The Tide." Others will appreciate the classic rock arrangements that harken back to 70s rock tunes.

While Olivia's voice is a common thread linking the tracks together, the album's diversity is sustained with gentle yet evocative ballads such as "On The Blue Horizon, the everso gentle "Rain Song" and acoustic guitar-backed almost-country sound of "Don't Turn A Blind Eye." Backing vocals add great texture to soft arrangements and Olivia's lead. Jennings' keyboards contribute progressive influences to the tracks, perhaps most notable in the standout and upbeat rocker "Time Tells All The Unknown," a track that must be tremendous to see the band perform on stage. Similarly lively is "The Senses" whose guitar lines are vivid in the song's arrangements.

Olivia's vocals continue to delight in "Head Above The Water" a mid-tempo rock song laced with guitars, swirling keyboards and even a touch of vocal effects. "Searching For My Shadow" is a highly accessible album standout. Olivia's evocatively delivered vocal soar well above the keyboard arrangement build as the song progresses through its three discrete passages. We loved the vocalise sung against the guitar solo midsection. The lyrical conclusion is delightful. The album closes with the sweetly sung "Turn Of The Tide," the opposing more instrumental and rhythmic bookend to the opening track.

Breathing Space have clearly broken through with their new album Coming Up For Air. It offers production consistency and maturity above the band's debut but a diversity of sound that will greatly expand the band's listener base. We look forward to hearing and seeing a lot more from Breathing Space.

Jason Ritchie

(GetReadyToRock.com)

Second album by the band formed by Iain Jennings, who was a member of Mostly Autumn when the first Breathing Space album came out but has since left the band. On vocals is Olivia Sparnen, who sings backing vocals with Mostly Autumn. But don’t go expecting Mostly Autumn soundalikes! Breathing Space verge into melodic rock/AOR at times, check out the anthem that is ‘When I Hold On To You’, lots of keys and guitar, courtesy of Mark Rowan who plays with a deft style – never to flashy but interesting solos and some good, heavy riffs when required. ‘On The Blue Horizon’ allows Olivia’s vocals to shine, a lovely mellow tune and again featuring sterling guitar solos. The title track is another lively tune and again veers into melodic rock territory with Karnataka coming to mind on the chorus.

A couple of guest appearances from Liam Davidson, who contributes slide guitar on ‘Don’t Turn a Blind Eye’, and from John Hart, who contributes sax and flute. His sax solos on ‘The Senses’ really do lift the listener’s senses!

Production wise it is top notch, with the keys and guitars melding nicely and this album is definitely one not only for Mostly Autumn fans but lovers of melodic rock/AOR. With the right exposure this album deserves big sales and I am already looking forward to album number three!

Graham Chalmers

(Gig Scene)

A FAR more coherent work than their sprawling debut album, the latest collection by former Mostly Autumn keyboard player Iain Jennings’ six piece outfit isn’t ‘prog’ rock as such, it’s where ’prog’ went in the 1980s after the success of Pink Floyd’s mainstream rock sound on The Wall and the atmospheric modernity of Peter Gabriel 3. It was a strong but poppy sound - best exemplified by tracks like Simple Minds’ Alive and Kicking, The Scorpions’ Wind of Change and Enya’s Orinoco Flow, not to forget the old masters themselves, Pink Floyd, in their Roger Waters-less maturity on A Momentary Lapse of Reason. Out went 12 minute epics, sword and sorcery imagery and weird noises, in came romantic keyboards, tight guitar solos, good tunes and synth-based percussion.

It wasn’t, and isn’t, my favourite kind of music, but Breathing Space carry it off with an easy, natural flair on every one of these melodically-strong, well-constructed 10 tracks. From poppy rocker When I Hold On To You to romantic ballad, Don’t Turn A Blind Eye, the album acts as a unified whole in both instrumentation and lyrics. Words like “air” and “sky” and “water” abound and the band themselves sound like a force of nature - Jennings’ swelling keyboards, Mark Rowen’s tight guitar solos, additional musician John Hart’s warm ‘Money-esque’ sax solos and Barry Cassell’s crashing drums (not forgetting Paul Teasdale’s melodic bass).

It’s uplifting and enjoyable but, though the lyrics may speak repeatedly of the difficulty of keeping “love” and “dreams” alive in a tough world, the band always sound like it’s blue skies ahead. Personally, I’d prefer a hint of darkness amid the slickness, a bit of bite to contrast with the sweetness. Fortunately, Breathing Space are blessed with a great vocalist in the shape of Olivia Sparnenn who makes their spirit flesh in a thrilling, slightly folky fashion. When she sings the exact same words that both start and finish the album on the title track Coming Up For Air and closing number Turn of the Tide - “this is our world, we made it, these are our hands, these are our dreams” - effortlessly projecting strength and tenderness, struggle and hope, she sounds like one of the elements herself.

Dean Pedley

(Hard Rock House)

A very promising second album from the band put together by former Mostly Autumn keyboard player Iain Jennings and who also including current MA member Olivia Sparnenn on lead vocals. Whilst there is plenty here to keep prog fans happy there is more than a hint of some delicate pop sensibilities and none of the songs goes on for an unnecessarily long time, Breathing Space seemingly content to trim back the excesses and concentrate on tight arrangements.

Sparnenn possesses a soaring voice and the interplay between herself and Jennings is the main feature of the ten tracks, the guitars for the most part being quite understated and used to complement rather than dominate. The title track is a glorious sweeping number that sets the scene for much of what is to follow, being both highly accessible and heartfelt. There is a strong sense of melody to be found here, from the uplifting ‘When I Hold On To You’ to the evocative ballad ‘Don’t Turn A Blind Eye’. The latter in particular is a definite highlight, the band displaying a maturity that suggests they will be around for a long time to come. The insistent, up tempo, ‘Time Tells All The Unknown’ sees Breathing Space rock out a little, Mark Rowen taking the opportunity to make his presence more keenly felt. And just so you don’t forget that this is a band unashamed of its prog roots, bringing the album full circle is the closing number ‘Turn Of The Tide’, which incorporates a reprise of the lyrical theme from the title track. It all works wonderfully well and this is a band who are clearly capable of making an impact if they can get enough people to take an interest. Another thumbs up goes to the production which is crystal clear throughout.

Most definitely recommended - 8/10

Colin Camel

(Heavy Durham's New Old Rock Magazine)

Breathing Space have taken their name fomm an Iain Jennings solo project of a couple of years ago.

Their debut album is an excellent piece of work, very well produced and presented. I love the vocals, especially on 'Rain Song',which has a hint of Heart about it. Other highlights on the album are the title track and 'On A Blue Horizon'.
Strong keyboards throughout, with a great bass and powerful drum beat, and some nice crisp guitar playing (love the riff on 'Searching For My Shadow') give the whole thing balance.

This album will appeal to a wide range of music lovers from Tangerine Dream to Judie Tzuke, Gordon Giltrap to Fleetwood Mac.