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Quotes about 'The Spire by House of Prog:

'Exquisite beautifully administered guitar saturated music.'

'An album of warmth and originality and which adequately displays a definitive A-Z of guitar manipulations.'

'A sprinkling of gorgeous female vocals.'

Strutter Magazine:

'LONG TALL J is an amazing guitarist who comes up with precise subtle melodies on his guitar.'

Reviews of '2020' by House of Prog and Prog Planet

'There is a fascinating compositional style to the entire body of music in as much that each track is packed with a myriad of interconnecting layers with different musical passages that continuously sprinkle out to the fore.'

'There is no doubt that ’LongTall J’ is an extremely superb guitarist and in addition a master music arranger.'

The Spire (2022) - Long Tall J The third long effort of the London resident Dutch guitarist/producer Long Tall J comes with many improvements from his previous works, along with the strong symbolism that understands the needs of our time. The Spire is a symbol of hope and aspiration, coming together to understand each other and many things left to achieve, while we are not being more than a mere piece of dust in a universe. The aftermath of the pandemic showed us what we need, and as a reflective artist who takes time to just understand the nature around him, J observed and created this. From the lyrics to the musical concepts he explores, he leaves symbols of The Spire to be discovered by the listener. Just like the message of ‘’togetherness’’ he is trying to give, The Spire includes many artists from Kyiv, Ukraine, including vocalist 'Amariia' from Ukraine, a semi-finalist in the National Eurovision Song Contest 2022. The album is rebellious, hopeful, and symbolistic, and spirals into LTJ’s personal reflections to gather objective truths about society and human nature. As an experienced guitarist, LTJ created a very guitar-driven album that can get atmospheric, hard, electronic, and very slow burn at times. The compositional quality never drops for a single moment throughout the album, as he journeys through his many influences from the 70s to the 20s while having a melodic and rhythmic consistency. A real gem for the prog-rock listeners searching for an underrated 52 minutes that is more relevant and soulful than many known contemporaries.


Here is the full track-by-track review! 

As an example:

Wakeman's Tale: Being as fulfilling as an album opener can be, Long Tall J’s tribute to one of the most successful and influential keyboardists of all time, a.k.a. Rick Wakeman (YES), is the tone setter of the third album of his catalog. J simply explains the reason behind this salute as ‘’call it appreciation admiration for amazing achievements or simply inspiration’’. The tribute atmosphere is highly reflected in the synths, and the guitar use which could be said to speak of the admiration — backed up with the cadential chord progressions along with Pink Floyd-inspired modulations and slide guitars, a highly melodic and thoughtful tribute. The track even excites more with the epilogue piano solo reminding us of the 70s prog rock piano sections by Eugene Moiseienko. A very hopeful and admirable start for an album that tells the story of hope and the embrace of all of us.

Would you like to read the review of all tracks: Click here!

A combination of guitar orientated rock styles with a sprinkling of gorgeous female vocals


Review by Geoff Penn


58 mins


Private Press Mastered   in the Netherlands in Bergen op Zoom:


My Rating 85/100


Having thoroughly enjoyed reviewing Jan’s 2020 project of the same name I was really looking forward to receiving a hard copy of his follow up album titled ‘The Spire’. However with me living in Cyprus Post Brexit, the mail situation on items sent from the UK is pretty tenuous. Eventually after many weeks in transit the ‘Spire’ arrived just in time for me to take it on holiday transferred in the form of wave files to my IPad.

And so the ‘Spire’ became my traveling companion on this cruise ship around Italy and Croatia etc. So, with plenty of time on deck, the sparkling Mediterranean sea became the backdrop for some exquisite beautifully administered guitar saturated music. The Spire according to the sleeve notes is a symbol of hope and aspirations. For those unfamiliar with Jan’s musical output, he is, in his professional working life, a commercial airline pilot, but away from the cockpit ‘metamorphic transitions occur when the ailerons, elevator and rudder are all swapped for a lead guitar and a stompbox.

‘One gets the impression that, from a musical perspective, Jan is like an all-consuming sponge soaking up before him all manner of harmonious snippets seemingly from an amazing array of styles and different genres. Indeed he has created a preverbal scrapbook of musical resources. Such treasures he has cleverly fused together with his own unique ideas and instrumental skills both at the compositional stage and in the recording studio. The result in this case being an album of warmth and originality and which adequately displays a definitive A-Z of guitar manipulations.


For those not aware of ‘Long Tall J’ as a guitarist and composer, one could be forgiven if the moniker (LTJ) gives the impression of this album being the works of an ‘American Blues Man’ But far from it LTJ is a master craftsman and The Spire’ is a beautifully presented digipak containing ten tracks of well-considered and beautifully developed guitar based music. From Jan’s website there is a link to a comprehensive downloadable booklet that outlines in great detail the inspiration behind each of the tracks, accompanying musicians and other technical details for each of the tracks,


It would of been foolhardy, on my part, to try and replicate such details as found in the above booklet within this short review. All I would say is this album is not first time listening and needs several plays for the essence of the music to be fully realised and appreciated, but of course the best things in life need work and attention. Another aspect that comes to mind, in relation to the booklet, is that the compositions, support musicians and arrangements are all well documented.


Summary:  ‘The Spire’s a superb album that has been assembled with much skill and panache with excellent lead guitar and support keyboards together with beautiful female vocals on selected tracks.  If there is any small area of criticism that could be levied it would be that there is a slight overuse the drum machine which takes away a certain stylish percussive element from the proceedings .But this is being extremely picky.

From the Dutch rock and prog magazine "STRUTTER'ZINE" June 2022:


LONG TALL J is a Dutch guitarist and music producer living in London, UK, and The Spire his 3rd album so far. We have reviewed his previous albums, which were quite good, and now his new CD offers once again high quality melodic progressive rock, which is a mix of instrumental music and some beautiful vocal melodies on 3 songs that are sung by AMARIIA (semi-finalist in the 2022 National Ukrainian Eurovision Song Festival Contest and part of the Altrockband AMARIIA from Kyiv, Ukraine). There are more Ukranian guest musicians to be heard, because that is what LONG TALL J wanted to show the world that music has no borders.


From start to finish this is a lovely calmer melodic progrock affair with fantastic melodies in both the instrumental and vocal parts. LONG TALL J is an amazing guitarist who comes up with precise subtle melodies on his guitar. A total of 10 songs are included, and some of them are definitely huge winners for the progrock fanatic, with as highlights the lengthy Don’t Let Them Talk To You That Way, Falling, Four Seasons and the sensational World Music influenced Novaya Zemlya that would make MIKE OLDFIELD jealous! The album closes nicely with the lovely uptempo melodic rocking Ten. Check out this talented musician’s new CD at:

(Points: 8.2 out of 10) 

After his previous but still recent releases Albatross and 2020 (both released in 2020), Dutch guitarist, aviator and musical producer Long Tall J (aka Jan Lievaart) seeks new heights with his latest release The Spire. Staying true to his style of fusing melodic rock and prog, with an emphasis towards melody and atmospheres, he brings a message of hope and aspiration. This is symbolically captured on the artwork by one of the world's highest buildings, London's iconic The Shard.

As on 2020, LTJ has once again achieved his goal of bringing a refreshing, versified collection of songs. Unfortunately for me, this doesn't involve the much anticipated collaboration with Stan Verbraak. Hopefully next time. Instead, LTJ is this time assisted by Martin Mens, Mel Mercer (also the designer of LTJ's artwork) and a group of Ukrainian musicians going by the names Moiseienko, Megabassman, Dmytro Kazantsev, and Amariia.

On The Spire, LTJ shows to be nothing short of an inspiration and successfully blends blues, jazz, rock and prog, although the latter is in the minority.

There are some elements and songs which don't work out so well and affect the album's consistency. One of those is Inge which is nothing more than a few quiet minutes of elementary guitar chords and citation of a Dutch poem written by LTJ's aunt Inge. Spoken with warmth by voice-actor Mens and surrounded by outdoor sound effects, it's hard to stay awake to this composition, especially when the song ends in nursery mobile trifle. Another example is the morning dip of Sunday Blues which, although beautifully sung by Maria Arkhipova (Amariia) and exhibiting excellent atmospheres of feeling down, it ripples past fairly unnoticed.

This can't be stated for the other two compositions featuring Ameriia. In The Spire she adds a soulful performance as well as superb harmonies, while the alternative-rock song itself is nicely covered in rocking guitars, to which a fine bridge gives way to fine guitar melodies. She also elevates the pop-oriented Falling, which becomes one of the better songs of the album. Aided by a bluesy undertone and gradually building in carefully-crafted intensity, its sensitive ending gliding through beautifully created atmospheres is noteworthy. Detectable prog influences are still very much out of the question though.

The same goes for Seven Of Nine which is a solid-rocking composition adding ominous atmospheres and excellent slide guitars over powerful driving bass from Megabassman. It showcases plenty of variety, staying well within the engaging melodic rock confinements of LTJ's spectrum. The far-too-short and most excellent instrumental bouncer Ten shows the same non-prog attraction.

During this highly energetic moment I do need the accompanying video to visualise the song's subject-matter, which also applies to the instrumental narration of Novaya Zemlya whose story is shared in the corresponding booklet that's only available online. Telling the story of explorer Willem Barents, this successfully sails away on carefully-crafted melodies in which icy coldness is met by lovely jazzy guitars. Transitioning through a wealth of variation that sheds a warmth of guitars, brings frostiness of synths, and that splashes waves of melodies, it is however the disaster, darkness and chaos that befalls on the adventurers that doesn't come across as powerfully and gloomily as probably LTJ envisioned.

In that respect, the mellow and slow-paced Four Seasons has more success, as it passes through the melancholic sorrow of autumn from LTJ's bluesy guitar play, and then slowly shifts into winter as spatial, atmospheric synths add shivering chills. When spring approaches through acoustic refinement and a cited Polish poem by Melcer announces summer, the subsequent subdued melodies, surrounded by calming natural sound effects of joyous lively chatter, create peaceful images of this serene moment in time. On a basic, energetic riff and barely audible floaty synth melodies, this mild prog-ish song ends with a nice cone of swirling synth excitement.

With a clue lying in the title, one would expect to find relatively more prog influences in Wakeman's Tale and indeed this is the case. Yet to me the appealing melodic guitar, combined with Mellotron-like synth work deceivingly manages to ignite feelings of Pink Floyd as opposed to the obvious Yes obligation. Rest-assured the outstanding classical piano play of Moiseienko ending the composition, does reflect the delicate ambient side of Yes' caped crusader.

Except for Wakeman's Tale, these last few compositions pass by with a restrained pace of musical mellowness, which in itself isn't distracting, yet I prefer LTJ's energetic side. Both sides of this coin can be found in Don't Let Them Talk To You That Way, which sounds smooth and elegantly hopeful at first with fine electronics, and gains rhythmic diversity as guitars add a rockier edge. The sudden change into trip-hop/chill-hop environments however doesn't speak to me at all and takes the embracing flow of the music away completely. Crawling onwards in a slightly psychedelic, ambient movement the song finally regains some of its finer momentum when LTJ's guitar enters a passage reminiscent to The Shadows.

This last song probably best illustrates my overall mixed feelings towards the The Spire. Overall, LTJ's ideas and executions are fresh and fruitful and there are several inspired moments to be found. Yet, these highlights are outweighed by songs that show a lack of pace and energy or fail to grab my attention or spike my imagination.

In light of recent disastrous world events involving some musicians collaborating on this album, LTJ has since released an online non-album track Ukraine which is a short instrumental song that voices the suffering cries and resistance of a nation under siege. Simultaneously, he acts as an intermediary for Ameriia, who personally sources aid in a variety of ways in her native country. For support see this page and for more information please visit LTJ's own website.

Radio Xymphonia, Prog on-line radio station
in The Netherlands, Show Nr. 1505, May 15, 2022:

NEW Long Tall J - Wakeman's Tale - Sunday Blues From “The Spire” (self-released, 2022) Last year we received the CD "2020" from England from Long Tall J alias Jan Lievaart, a musician born in the Netherlands who has lived close to London for many years. Inspired by the global lockdown, “2020” was his second solo album, after his debut “Albatross” released in February 2020. The successor "The Spire" was recently delivered. The progressive rock parts give way to guitars, heavy drum programming and keyboards. In contrast to predecessor "2020", on this record he was able to seek more collaboration with other musicians. As many as three Ukrainians contribute. Some of the material was sung by Amariia, who this year participated in the semifinals of the national song contest in her torn country. Eugene Moiseienko plays the piano on "Wakeman's Tale" dedicated to Rick Wakeman. Megabassman, finally, adds his bass skills in two pieces. Lievaart makes it even more international, because Martin Mens recites a Dutch poem in “Inge” and Mel Mercer recites a Polish verse in “Four Seasons”. Long Tall J's instruments, however, are still the centerpiece, showing where his influences come from. These are in particular guitarists such as David Gilmour, Snowy White, Andy Latimer, Jeff Beck and Steve Hackett. Yet despite the war in Eastern Europe, the hopeful "The Spire" is above all another proof of his very own view on rock music. From the ten tracks we have selected "Wakeman's Tale" and "Sunday Blues" for tonight.

Permafrost from Norway on 'The Spire':

Informative article about the release of 'The Spire' in
May 2022 by Ulf Backstrøm. 

Norwegian website with prog and AOR.

Prog Magazine reviews of LTJ album tracks:

IMG_1744 2.jpg

House of Prog and Prog Planet review '2020' (full text):

A Melodic Instrumental Fusion of Progressive Rock. Heavy Rock and AOR with a tinge of integrated Jazz


Review by Geoff Penn

58 mins

Private Press Mastered in Kyiv, Ukraine at the Soncesvit studio with  Ivan Luzan


My Rating 85/100


Working as a cooperate pilot for an international business aviation company Jan Lievaart is probably and currently better known around the world as Captain Jan. Well, certainly this would be the case from an air traffic controller’s perspective as they utilise the communication parlance needed to safely get an aircraft airborne, follow a flight path and then deliver a plane back safely to the ground. However, the moniker ‘Long Tall J’ is almost certainly going to soon be as equally recognisable in rock music circles due to the fact Jan subsequently has renewed his interest, in making and producing his own music. Incidentally the title “Mr Long Tall Jan Lievaarrt” came about during his early musical years when treading the boards, in his native Holland, playing with a variety of different brands.

Jan, now residing in London with his Polish wife, despite his ongoing relationship with all things aviation, has rekindled his love for playing the guitar and working on new musical arrangements and tunes for his recent spate of self-produced albums. The degree of his interest in this direction being amply displayed with the enormous volume of self-penned music he has composed and subsequently delivered on his two albums that were released in 2020. The first entitled Albatross” in February 2020 and his second album in December entitled ‘2020’, the subject of this review:-

This eleven-track, mostly instrumental styled, album entitled ‘2020’ is loosely conceptual with the title order of the tracks, in chronological fashion, roughly following the events of the ‘Covid 19’ pandemic. However, the music itself, with minimal vocal interpretation, could seriously grace a multitude of different subjects and/or their related themes. There is a fascinating compositional style to the entire body of music inasmuch that each track is packed with a myriad of interconnecting layers with different musical passages that continuously sprinkle out to the fore.  In fact, there is such an overwhelming preponderance of musical ideas suggesting that the overall number of tracks could easily have been split up and trebled.  But such a comprehensive format as employed here certainly results in a high degree of listening interest especially wondering in which direction the music will take us off too next. (No aviation pun intended).

The central core programming of drums and keyboards have been truly well constructed, thought out and planned thus providing a solid and interesting platform for the various and exceedingly numerous guitar passages. Such passages which form the melodic heart of the individual songs. Secondary to the guitar interpolations are swathes of keyboard decorations that add a certain flamboyance to the music without outshining the guitar contributions. Interesting too are a whole host of different musical interpretations that have been integrated such as Celtic, rock ’n roll and folk in fact too many to count. In addition, there are many countermelodies generated by a complexity of guitar or keyboard. There are in parts within the entire score that expel a certain ‘Mike Oldfield ‘vibe with some tricky multi-instrumental layering. The whole enterprise clearly being a complex studio mixing undertaking.

Whether it was out of choice or due to restrictions in social mixing but the vocal input was limited to two tracks only. Ukrainian singer ‘Amariia’ has a beautiful voice and the song selected for her suited her voice well. The desire to showcase a wide variation in style and compositional ability is understandable but the only weak point on the album for me was the track ‘White Lightening’, which sounded quite out of place and not the best use of ‘Stan Verbraak’s strong vocal contribution.

There is no doubt that ’LongTall J’ is an extremely superb guitarist and in addition a master music arranger. Such talents that would be a much wanted and a very desirable commodity in the music business as a whole. However, the current correlation between the rewards achievable in the ‘Aviation industry’ compared to those in the ’Music industry’, in these Covid raked times, renders such a thought simply wishful thinking. In the meantime, we can look forward to more polished and enjoyable projects from Jan.



1 – Lockdown 05:40
2 – Got a Loving Fire (feat. Amariia) 04:17
3 – Jeff are you Beck?

4 – But it Matters 03:41
5 – Wonders of the World 04:30
6 – White Lightning (feat. Stan Verbraak) 03:41
7 – Groovy 06:07
8 – Life as it is 07:26
9  – Beat the Logic (feat. Emily V) 03:14
10 – The Thunberg Effect 05:55
11 – Star 08:59

Total time: 57:27

From the Dutch Progressive Rock Page: (April 25, 2021)

In his daily life the Dutch musician Long Tall J (Jan Lievaart, LTJ) resides in London as a business aviation pilot. During his spare time he writes, records and produces prog rock in the confines of his home studio, which so far has resulted in an early 2020 release Albatros. With the pandemic freeing up Lievaart's flight-schedule, its follow up, 2020, was subsequently released in December of that same remarkable year.

LTJ's message, mentioned in the digi-pack and self-explanatory song-titles like The Thunberg Effect, is one of unification and positivity which on a few effective occasions shines through beautifully in his compositions. Playing almost every instrument on the album, his main asset is lovely attractive guitar work which brings warmth and great atmosphere to his elegantly foremost instrumental progressive/melodic rock styled compositions that also harbour New Age / Ambient passages. Besides these flourishes there are a few collaborations which brings completely different flavours to his music which would make Monthy Python astonishingly proud! I'll save the biggest surprise for last.

The album opens with the slowly advancing Lockdown where rocking guitar adds fuel to a simple beat, while slight New Age feelings emerge from a piano/splashing waves intermezzo that's greeted by short saxophone and Gregorian sounding chants. A thematic return brings the song full circle in a gracious beating atmosphere. Keeping the mild rocking ambience going smoothly is the alternative rock of Got A Lovely Feeling, one of three collaborations on the album. It's co-written and sung by Amariia who's expressive vocals remind me of Skunk Anansie, much like the rugged melodic approach of the song, which is tight and powerful, although slightly monotonous for my palate.

In Jeff Are You Beck? (hint, hint) LTJ displays his immaculate main instrument chops through some delicious solos and fluently melodic approaches, showing signs towards the obvious reference, while the seventies inspired heavy rock segments with superb shreds show light similarities to KONG. Dainty bass, a symphonic touch and Jazz fusion deliciousness ends the song in fine fashion.

Every composition has ample of variety and nice flowing ideas where occasional New Age/ metal touches in But It Matters! bring sensitive emotional elements of Xavier Boscher, while the jazzy surroundings and elegant keyboard twinkles in Wonders Of The World's gives variational depth in a Sunrise Auranaut way. The versatile grooving expectancy of Groovy in its turn shows beating resemblance to Lockdown and adds nice percussive elements to the mix, while the Irish Folk atmosphere created in Beat The Logic, featuring Emily V. on violin, brings delightful visions of a Riverdance exhibition caged within an effective framework of guitars.

The restrained ambient morning dew feelings of the preceding Life As It Is flies off halfway into lovely fusion filled instrumental rock, with some delightful organ ripples which nourish the flow of the composition effectively. Something similarly accomplished in the refined nature created by dreamy piano and synth in The Thunberg Effect, which travels through several moody atmospheres ranging from ominous doom to jazzy landscapes onto bright sunny seashores.

Star's epic Wishbone Ash-appeal works infectiously at first, with lovely melody-lines and restrained frivolities slowly gaining intensity and a soothing rocking intermezzo, yet its extensively prolonged minor mood demonstrates one of my reservations towards the album. There's lots of attention to adventurous variety in both play and compositions, where multi-layered complexness, arrangements and programmed rhythms brings ample of enjoyment, yet some of the compositions pass by in too slow a pace for my taste. I can't help but feel that sometimes they would have benefited from energetic up-tempo injections.

The startling odd one out White Lightning, written in collaboration with Stan Verbraak (Highway Chile, Helloise), certainly makes up for this in the most exciting combustible way imaginable, flaming my youthful admiration for vigorous rock instantly. In a straight forward early heavy metal styled rock composition LTJ reverses musical compass completely and soars mightily into hard rock where the vocal delivery by Verbraak induces seventies Judas Priest vengeance alongside Ronnie James Dio/Rainbow feelings. Slightly rough Angel AOR-touches brings additional catchy power, while LTJ's great drum efforts pay off brilliantly in combination with his axe-slaying.

According to his own statements, LTJ finds it refreshing for his listeners to have a bit of variation now and again. Whether this applies for the enticingly-different White Lightning is a matter of taste, but I for one couldn't agree more. His intention is well kept, and the overall diverseness, lovely melodic approaches and charmingly-arranged compositions emphasise this.

For me the album's strength lies in the first half of the songs, when the up-tempo efflorescences keep the flow of the album going beautifully, to descend in pace after Groovy. Overall a very good effort and I sincerely hope the LTJ-Verbraak cooperation will see a follow-up, as it holds many promises.

From the Dutch rock and prog magazine "STRUTTER'ZINE" Feb 2021:


Multi-instrumentalist JAN LIEVAART is based in Surrey, which is close to London, UK. He has his own project/band called LONG TALL J, in which he plays everything by himself, with a few guest singers on a couple of songs. We recently reviewed his previous album, and now it's time for 2020. This album is a journey through the awkward year we all had in 2020, which is done through 8 instrumental songs and 3 vocals featured tracks. Jan is a great musician, who surely can play the guitar very well and so we can once again enjoy his fabulous work on especially his tribute to JEFF BECK, which is the song Jeff are you Beck? that has an amazing instrumental guitar melody coming our way. Also quite interesting is the song Beat the logic, which combines Irish Folk and Progrock, and also features Californian violinplayer EMILY V. From the vocal featured material, I really have to mention White lightning, which is a song that has the legendary STAN VERBRAAK (HELLOISE, HIGHWAY CHILE) on lead vocals and it is a great uptempo classic melodic hardrock/heavy rocker. It would be really great to see LONG TALL J teaming up with Stan for a full-length album, because this song sounds very promising! The music in general on this album is a mix of Progrock, Classic Hardrock and a bit of Blues, with also some modern influences here and there, so enough to enjoy and explore. Go check out more at:

(Points: 8.1 out of 10)

Radio Xymphonia, Prog on-line radio station

in The Netherlands, Show Nr. 1441, Feb 2021:

Long Tall J - White Lightning
- Life As It Is
Van “2020” (self-published, 2020)

From England we received a promo CD from a certain Long Tall J. From his accompanying letter we can conclude that we are dealing with Jan Lievaart. Indeed, he introduces himself as a Dutch-born musician who has lived close to London for years. “2020” is, after his debut album “Albatross”, released in February 2020, his second solo album that was released on December 10 of last year. It should be clear that this is a theme album from the past year, which is reinforced with titles like “Lockdown” and “The Thunberg Effect”. Long Tall J, who in daily life is a pilot in business aviation, recorded the CD almost alone in his own studio. With the help of guitars, heavy drumming and keyboards he mainly creates instrumental, mostly progressive rock pieces. In it he shows that he is an experienced musician who has shown his skills in various bands since the last century. It is also easy to see where his influences come from. These are guitarists such as David Gilmour, Andy Latimer, Jeff Beck (judging by the song title “Jeff Are You Beck?”) And Steve Hackett, but he also acknowledges getting inspiration from more modern acts like Linkin Park and Steven Wilson. There is room for a guest musician on three tracks, with the vocals of former Helloise and Highway Chile singer Stan Verbraak in the AOR rocker “White Lightning” being particularly striking. Long Tall J. also wants to show his introverted side is shown by the subtly arranged “Life As It Is”. We programmed these two songs for tonight. T
Websites: .

From the Dutch rock and prog magazine "STRUTTER'ZINE" June 2020:



Out of London comes LONG TALL J, a sensational guitarist who originally comes out of my own country The Netherlands. He was kind enough to sent me his album Albatross, which contains 10 songs that musically go into a melodic progressive/classic rock direction. 2 songs feature vocals from guest female singer AMARIIA (from the Ukraine), including the strong opener On my own, with it's excellent vocals a really fine opener. The album is mostly built around Long Tall J.'s superb precise guitarwork which is influenced by bands like WISHBONE ASH and PINK FLOYD. For the drums on the title track he hired LEON SCHMITZ and for the bass ELIAS BASTIAAN. From the instrumental songs the highlights are Sixty, Epic and the titletrack Albatross, while the other vocal featured track should also be mentioned here (Time is a lovely midtempo almost AFTER FOREVER ish midtempo Prog/Symphonic Metal tune). I think he really needs to compose much more material with the wonderful singer AMARIIA, because those vocal songs show that he is capable of writing a really decent vocal tune as well besides the lovely instrumental work he shows us most of the time on this album. More info can be found at:


(Points: 8.2 out of 10)

From website 'Permafrost' in Norway, posted May 27, 2021:



Long Tall J is a Dutch guitarist and music producer living in London, UK, and in 2019 he released his debut album Albatross. His musical style is a fusion of prog and melodic rock. Melody and atmosphere are key to his work and both albums include a number of international cooperation.


Long Tall J is a multiinstrumentalist and he plays almost every instruments on the album. He offers atmospheric and very nice guitar work and instrumental prog with hints of ambient and new age.