Caros Amigos infelizmente terei que ausentar-me por um tempo, por isso estou dando uma Pausa com o Blog..... Obrigado a todos, Abraços !!!!
Danilo
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sexta-feira, 16 de maio de 2014
*. Locust .* (Reissue)
Album: The Shadow
(1981)(Reissue 2004)
Genre: Soft Prog Rock (Psych-Pop/Rock) / Korea
Songs / Tracks Listing
01. I told you
02. Baby
03. I hate the moon
04. The wind
05. The shadow
06. At night
07. Like today, a strange day
08. Footprints of love
RATING: 7 / 10
.
Genre: Soft Prog Rock (Psych-Pop/Rock) / Korea
Songs / Tracks Listing
01. I told you
02. Baby
03. I hate the moon
04. The wind
05. The shadow
06. At night
07. Like today, a strange day
08. Footprints of love
RATING: 7 / 10
.
*. Artsruni .* (Re-Post)
BIO: Vahan Artsruni first came to attention in 1984 in the band the “Apostles” of a legendary Armenian minstrel and rock musician Arthour Meschian, featuring on guitar. Work with Meschian took shape for his taste and style, which he developed in the direction of various forms of art rock. Before switching to rock, he graduated the Yerevan State Medical Institute and got the Master's Degree. However, the heir of Armenian kings, composers, state university founders, and medical professors, Vahan preferred to continue his being in music and entered Yerevan State Conservatory majoring in vocal with Gohar Gasparian. Subsequently, he was soloing with "Narek" Male Choir from 1989 to 1994 and in 1993-1994 at the State Academic Cappella of Armenia and "Haysmavourk" Medieval Choir. In 1995-1996 as Artistic Director he organized four student music festivals. At that he was performing music in more sympho-rock oriented style. Upon return from Army in 1997, having collected huge material, he made concerts with Armenian National Symphonyc Orchestra representing his instrumental cycle "Ethnophonica", a suite, at Aram Khachaturian Concert Hall. In 1999 he presented a chamber cycle "Komitas. Ten Revelations" based on poetry of great Armenian composer and ethnomusicologist Vardapet Komitas, music by Vahan Artsruni.That was first introduced in France in 2000 in the concert tour of Anna Mayilyan, a prominent Armenian soprano. Last two years were very prolific for Vahan. He made numerous concerts participating in various projects. Artsruni Orchestra plays his chamber music. Together with narrator Marina Artsruni and duduk player Gevork Dabaghyan they present the poetry of Paruyr Sevak. ARTSRUNI band, his pet progressive music project, made 18 sold out concerts in 2000-2001. What they play is just another lost universe of music. Ancient Armenian melodies that remember 1700 years of strong faith and fight, fresh touch of flute, elegant guitars, solid bass and drums create music that advances in the development of modern progressive rock and greatly impress those around with class, passion and intellect. (http://www.naregatsi.org)
Songs / Tracks Listing
01. I Am (4:16)
02. Wish (3:25)
03. Path (4:24)
04. Illusion (3:47)
05. Lovebreeze (3:47)
06. Cypresses and Cedars (4:04)
07. Autumn Night (3:08)
08. The Pavement And The Path (2:54)
09. Sweet Spring (4:54)
10. As a Fortune (4:16)
Line-up / Musicians
Vahan Artsruni - Vocal, Guitar
Anna Mailian - Vocal
Naira Abrahamyan - Vocal
Arman Manoukyan - Flute
Meruzhan Ter-Minasyan - French horn
Gevorg Dabaghyan - Duduk
Samvel Abrahamyan - Oboe
David Haroutyyunyan - Bass guitar
Levon Hakhverdyan - Percussions
Marina Kotelevskaya - Violin
Gayane Grigoryan - Violin
Elen Haroutyunyan - Violin
Nara Shahbazyan - Cello
RATING: 7.75 / 10
01. I Am (4:16)
02. Wish (3:25)
03. Path (4:24)
04. Illusion (3:47)
05. Lovebreeze (3:47)
06. Cypresses and Cedars (4:04)
07. Autumn Night (3:08)
08. The Pavement And The Path (2:54)
09. Sweet Spring (4:54)
10. As a Fortune (4:16)
Line-up / Musicians
Vahan Artsruni - Vocal, Guitar
Anna Mailian - Vocal
Naira Abrahamyan - Vocal
Arman Manoukyan - Flute
Meruzhan Ter-Minasyan - French horn
Gevorg Dabaghyan - Duduk
Samvel Abrahamyan - Oboe
David Haroutyyunyan - Bass guitar
Levon Hakhverdyan - Percussions
Marina Kotelevskaya - Violin
Gayane Grigoryan - Violin
Elen Haroutyunyan - Violin
Nara Shahbazyan - Cello
RATING: 7.75 / 10
quinta-feira, 15 de maio de 2014
*. Den Fule .*
Songs / Tracks Listing
01. Tuss Ola
02. Nordafjells
03. Pål Karls Vals
04. Raddaschottis
05. Lugumleik
06. Dickpolskan
07. Långdans
08. Vallåt
09. Tre Strömmingar
10. Slängpolska
11. Köpmanpolskan
12. Modus Mats
13. Psalm
14. Nordic Wolf
Line-up / Musicians
Ellika Frisell / violin
Jonas Simonson / flutes, bass, saxophone
Sten Källman / saxophones, percussion
Henrik Cederblom / guitars, percussion
Stefan Bergman / bass
Christian Jormin / drums and percussion
Guests:
Henrik Wallgren / vocals on track 2
Ingrid Brännströmm / vocals on track 8
RATING: 7.5 / 10
.
01. Tuss Ola
02. Nordafjells
03. Pål Karls Vals
04. Raddaschottis
05. Lugumleik
06. Dickpolskan
07. Långdans
08. Vallåt
09. Tre Strömmingar
10. Slängpolska
11. Köpmanpolskan
12. Modus Mats
13. Psalm
14. Nordic Wolf
Line-up / Musicians
Ellika Frisell / violin
Jonas Simonson / flutes, bass, saxophone
Sten Källman / saxophones, percussion
Henrik Cederblom / guitars, percussion
Stefan Bergman / bass
Christian Jormin / drums and percussion
Guests:
Henrik Wallgren / vocals on track 2
Ingrid Brännströmm / vocals on track 8
RATING: 7.5 / 10
.
*. Sango .*
Album: Sango 2 (1983)
Genre: Prog Rock (Vocal Jazz/Pop/Rock/Soul) / Germany
Songs / Tracks Listing
01. Jealousy
02. On The Way To Spain
03. Tropical Down
04. Snails
05. Bon Voyage
06. Death In The Wood
07. Cafe Musique
08. Me, Mrs. G And Others
09. St. Jean Ottilie
10. Down And Out
Line-up / Musicians
Susanne Vogt / Vocals, Acoustic Guitar
Rainer Worm / Bass, Vocals
Harald Wehnhardt / Electric & Acoustic Guitar
Rolf Dressler / Keyboards, Producer
Werner Fromm / Drums
Manfred Grietens / Percussions
RATING: 6.75 / 10
.
Genre: Prog Rock (Vocal Jazz/Pop/Rock/Soul) / Germany
Songs / Tracks Listing
01. Jealousy
02. On The Way To Spain
03. Tropical Down
04. Snails
05. Bon Voyage
06. Death In The Wood
07. Cafe Musique
08. Me, Mrs. G And Others
09. St. Jean Ottilie
10. Down And Out
Line-up / Musicians
Susanne Vogt / Vocals, Acoustic Guitar
Rainer Worm / Bass, Vocals
Harald Wehnhardt / Electric & Acoustic Guitar
Rolf Dressler / Keyboards, Producer
Werner Fromm / Drums
Manfred Grietens / Percussions
RATING: 6.75 / 10
.
*. Agorà .*
Album: Ichinen (2014)
Genre: Prog Rock (Jazz Rock/Fusion/Folk/Canterbury) / Italy
Senza paura di essere smentiti possiamo ufficialmente dichiarare aperta una nuova stagione del progressive rock italiano. Una stagione eclettica, viva e particolarmente convincente che continua a proporre sempre nuovi progetti e a far rifiorire alcuni marchi storici della scena progressiva degli anni settanta. A questa seconda categoria possiamo ascrivere anche i marchigiani Agorà, storica formazione dell’epoca d’oro del progressive italiano nota alle cronache musicali soprattutto per l’ottimo album d’esordio, “Live in Montreux”, pubblicato dalla Atlantic nel lontano 1975. Legati da sempre alle calde atmosfere mediterranee e ad una struttura musicale jazz-rock, gli Agorà si riformano nel 2000 grazie a quattro membri storici: Renato Gasparini (chitarre, voce), Ovidio Urbani (sax soprano), Mauro Mencaroni (batteria) e Lucio Cesari (basso acustico). L’idea iniziale è quella di far rivivere il progetto in chiave prevalentemente acustica, operazione che necessita quindi degli innesti di: Maurizio Mercuri (chitarre), Giovanni Ceccarelli (piano), Alessandra Pacheco (voce) e Karl Potter (percussioni). Con l’arrivo del 2012 la band arruola anche: Gabriele Possenti (chitarre), Gianni Pieri (violoncello) e Massimo Manzi (batteria). Le diverse fasi di registrazione di Ichinen (iniziate nel giugno del 2003 e terminate nel maggio del 2013) hanno coinvolto un po’ tutti i musicisti che in questi ultimi anni hanno gravitato nell’orbita nel progetto Agorà, favorendone di fatto l’allargamento dello spettro sonoro a temi etnici e soluzioni meditative. L’opera, infatti, si ispira ai principi buddisti di Nichiren Daishoni, dai quali coglie la fiducia nella “rivoluzione umana” individuale, per creare valore nel rispetto della sacralità della vita e dell’ambiente. Il lavoro è una sorta di rilettura acustica di brani storici e di registrazioni del 1978 rimaste inedite con l’aggiunta di nuove composizioni. L’album inizia con la rilettura di Serra San Quirico, brano già presente sul disco d’esordio. Il pezzo è dedicato alla località della provincia di Ancona nel cui centro storico si trova la chiesa sconsacrata che negli anni settanta fu punto di ritrovo per molti giovani musicisti marchigiani. Le chitarre acustiche di Gasparini e Possenti avviano arpeggi delicati sui quali si inseriscono dapprima il violoncello di Pieri e in seguito il rotondo basso acustico di Cesari. L’assenza della batteria differenzia questa nuova rilettura dalla versione originale, affidandosi alle sonorità morbide, calde e acustiche di basso e chitarre, vivacizzate dalle squillanti incursioni del sax di Urbani. Sulla stessa linea si muove anche Ichinen, che però si arricchisce dei contributi vocali della Pacheco e di Gasparini, nonché dell’accattivante apporto ritmico delle percussioni di Potter e della batteria di Mencaroni. La natura melodica del brano rispolvera le tipiche atmosfere mediterranee degli Agorà, qui ulteriormente accentuate dell’“anima latina” di Potter e dai ricercati arpeggi della chitarra. A rivendicare le origini jazz-rock dello storico marchio ci pensano Ceccarelli al piano e Urbani all’immancabile sax. A seguire Sensei, che della terna iniziale è il brano più malinconico e accostabile (per certi versi) all’estetica del fado o, più in generale, alla musica popolare dei paesi mediterranei. A farla da padrone l’ottimo sax di Urbani e il piano di Ceccarelli, che emergono alleggerendo le malinconiche note di chitarra e basso. I vocalizzi della Pacheco suonano come uno strumento aggiunto che impreziosisce i passaggi più intensi. Con Work in progress va in scena un raffinato duetto chitarristico tra Gasparini e Possenti. La bellezza malinconica e nitida dei suoni acustici è solo in parte ravvivata da alcune variazioni ritmiche e da passaggi più agili e virtuosi che tuttavia non riescono a scrollarsi di dosso la dolenza tipica di certo flamenco. Star strings si lascia condurre dalle percussioni di Potter su temi etnici e cadenzati che rievocano gli Aktuala di “Tappeto Volante”, mentre il sax soprano di Urbani di addentra negli stessi territori jazz-rock dei primissimi Area. Anche qui le voci fungono da ulteriore decoro ad un affresco sonoro dai toni caldi e melodici. Istante per istante, come Work in progress, è un finissimo duetto tra le chitarre di Gasparini e Mercuri. Qui però è la vivacità a regnare sovrana. Ricchi e veloci passaggi si rincorrono e si intrecciano in soluzioni che dal jazz passano al folk (e viceversa) con estrema naturalezza. Tabla, chitarra e voci fanno di Tre Maggio l’episodio più etnico di Ichinen, conteso tra le tipiche strutture raga indiane e l’inclinazione jazz del piano di Ceccarelli; inclinazione che si fa ancor più evidente in Oceano, brano che demarca la sottile linea di confine tra gli Agorà e i Perigeo. Possenti è l’autore e l’esecutore di Wood of guitar, piccola gemma classica che presenta la stessa cura e grazia di “Mood for a day” di Howe. Segue Progressive suite, esplicita sin dal titolo e senza dubbio la più legata alla fusion anni ’70 di cui proprio gli Agorà sono stati tra i maggiori esponenti della scena italiana. Il Fender Rhodes, i vocalizzi e la ritmica in Costa dell’est dirottano inizialmente verso insoliti (per la band) territori zeuhl, salvo poi virare a favore di un più canonico jazz-rock che presenta numerose affinità con il sound storico degli Arti & Mestieri e con la scena di Canterbury. Davvero interessante! Chiude l’album un medley di brani tratti dal secondo album della band, “Agorà 2”, che include Piramide di domani / Cavalcata solare (theme). Anche in questo caso è la morbidezza del suono a colpire fin dal primo ascolto. Il sax di Urbani e il violoncello di Pieri si rincorrono, mentre le chitarre di Gasparini e Possenti creano la struttura portante con la complicità del basso di Cesari. Un splendido congedo acustico che riesce a fare a meno di batteria e piano. Anche se le composizioni abbracciano un arco temporale ampio, Ichinen ha il pregio di risultare un lavoro omogeneo, maturo ed elegante, confezionato da musicisti davvero in splendida forma. Recensione di "HamelinProg" (www.hamelinprog.com)
RATING: ????????????????
.
Genre: Prog Rock (Jazz Rock/Fusion/Folk/Canterbury) / Italy
Senza paura di essere smentiti possiamo ufficialmente dichiarare aperta una nuova stagione del progressive rock italiano. Una stagione eclettica, viva e particolarmente convincente che continua a proporre sempre nuovi progetti e a far rifiorire alcuni marchi storici della scena progressiva degli anni settanta. A questa seconda categoria possiamo ascrivere anche i marchigiani Agorà, storica formazione dell’epoca d’oro del progressive italiano nota alle cronache musicali soprattutto per l’ottimo album d’esordio, “Live in Montreux”, pubblicato dalla Atlantic nel lontano 1975. Legati da sempre alle calde atmosfere mediterranee e ad una struttura musicale jazz-rock, gli Agorà si riformano nel 2000 grazie a quattro membri storici: Renato Gasparini (chitarre, voce), Ovidio Urbani (sax soprano), Mauro Mencaroni (batteria) e Lucio Cesari (basso acustico). L’idea iniziale è quella di far rivivere il progetto in chiave prevalentemente acustica, operazione che necessita quindi degli innesti di: Maurizio Mercuri (chitarre), Giovanni Ceccarelli (piano), Alessandra Pacheco (voce) e Karl Potter (percussioni). Con l’arrivo del 2012 la band arruola anche: Gabriele Possenti (chitarre), Gianni Pieri (violoncello) e Massimo Manzi (batteria). Le diverse fasi di registrazione di Ichinen (iniziate nel giugno del 2003 e terminate nel maggio del 2013) hanno coinvolto un po’ tutti i musicisti che in questi ultimi anni hanno gravitato nell’orbita nel progetto Agorà, favorendone di fatto l’allargamento dello spettro sonoro a temi etnici e soluzioni meditative. L’opera, infatti, si ispira ai principi buddisti di Nichiren Daishoni, dai quali coglie la fiducia nella “rivoluzione umana” individuale, per creare valore nel rispetto della sacralità della vita e dell’ambiente. Il lavoro è una sorta di rilettura acustica di brani storici e di registrazioni del 1978 rimaste inedite con l’aggiunta di nuove composizioni. L’album inizia con la rilettura di Serra San Quirico, brano già presente sul disco d’esordio. Il pezzo è dedicato alla località della provincia di Ancona nel cui centro storico si trova la chiesa sconsacrata che negli anni settanta fu punto di ritrovo per molti giovani musicisti marchigiani. Le chitarre acustiche di Gasparini e Possenti avviano arpeggi delicati sui quali si inseriscono dapprima il violoncello di Pieri e in seguito il rotondo basso acustico di Cesari. L’assenza della batteria differenzia questa nuova rilettura dalla versione originale, affidandosi alle sonorità morbide, calde e acustiche di basso e chitarre, vivacizzate dalle squillanti incursioni del sax di Urbani. Sulla stessa linea si muove anche Ichinen, che però si arricchisce dei contributi vocali della Pacheco e di Gasparini, nonché dell’accattivante apporto ritmico delle percussioni di Potter e della batteria di Mencaroni. La natura melodica del brano rispolvera le tipiche atmosfere mediterranee degli Agorà, qui ulteriormente accentuate dell’“anima latina” di Potter e dai ricercati arpeggi della chitarra. A rivendicare le origini jazz-rock dello storico marchio ci pensano Ceccarelli al piano e Urbani all’immancabile sax. A seguire Sensei, che della terna iniziale è il brano più malinconico e accostabile (per certi versi) all’estetica del fado o, più in generale, alla musica popolare dei paesi mediterranei. A farla da padrone l’ottimo sax di Urbani e il piano di Ceccarelli, che emergono alleggerendo le malinconiche note di chitarra e basso. I vocalizzi della Pacheco suonano come uno strumento aggiunto che impreziosisce i passaggi più intensi. Con Work in progress va in scena un raffinato duetto chitarristico tra Gasparini e Possenti. La bellezza malinconica e nitida dei suoni acustici è solo in parte ravvivata da alcune variazioni ritmiche e da passaggi più agili e virtuosi che tuttavia non riescono a scrollarsi di dosso la dolenza tipica di certo flamenco. Star strings si lascia condurre dalle percussioni di Potter su temi etnici e cadenzati che rievocano gli Aktuala di “Tappeto Volante”, mentre il sax soprano di Urbani di addentra negli stessi territori jazz-rock dei primissimi Area. Anche qui le voci fungono da ulteriore decoro ad un affresco sonoro dai toni caldi e melodici. Istante per istante, come Work in progress, è un finissimo duetto tra le chitarre di Gasparini e Mercuri. Qui però è la vivacità a regnare sovrana. Ricchi e veloci passaggi si rincorrono e si intrecciano in soluzioni che dal jazz passano al folk (e viceversa) con estrema naturalezza. Tabla, chitarra e voci fanno di Tre Maggio l’episodio più etnico di Ichinen, conteso tra le tipiche strutture raga indiane e l’inclinazione jazz del piano di Ceccarelli; inclinazione che si fa ancor più evidente in Oceano, brano che demarca la sottile linea di confine tra gli Agorà e i Perigeo. Possenti è l’autore e l’esecutore di Wood of guitar, piccola gemma classica che presenta la stessa cura e grazia di “Mood for a day” di Howe. Segue Progressive suite, esplicita sin dal titolo e senza dubbio la più legata alla fusion anni ’70 di cui proprio gli Agorà sono stati tra i maggiori esponenti della scena italiana. Il Fender Rhodes, i vocalizzi e la ritmica in Costa dell’est dirottano inizialmente verso insoliti (per la band) territori zeuhl, salvo poi virare a favore di un più canonico jazz-rock che presenta numerose affinità con il sound storico degli Arti & Mestieri e con la scena di Canterbury. Davvero interessante! Chiude l’album un medley di brani tratti dal secondo album della band, “Agorà 2”, che include Piramide di domani / Cavalcata solare (theme). Anche in questo caso è la morbidezza del suono a colpire fin dal primo ascolto. Il sax di Urbani e il violoncello di Pieri si rincorrono, mentre le chitarre di Gasparini e Possenti creano la struttura portante con la complicità del basso di Cesari. Un splendido congedo acustico che riesce a fare a meno di batteria e piano. Anche se le composizioni abbracciano un arco temporale ampio, Ichinen ha il pregio di risultare un lavoro omogeneo, maturo ed elegante, confezionato da musicisti davvero in splendida forma. Recensione di "HamelinProg" (www.hamelinprog.com)
RATING: ????????????????
.
*. The Blue Angel Lounge .*
Album: A Sea of Trees (2014)
Genre: Psychedelic Rock (Neo Psych/Shoegaze/Dark) / Germany
Once Winter sets in and Nils Ottensmeyer’s distinct vocals join in, it’s no wonder Germany’s The Blue Angel Lounge took their name from a NYC club that gave Nico some of her first live performances. Add in a little whiff of Ian Curtis and it’s crystal clear The Blue Angel Lounge are going to offer up something dark, moody and not without a little drama. A Sea of Trees crosses a few lines, dipping into a wider range of influences, if not genres, than most psych leaning bands for a chic, noirish vibe that may not be everyone’s cup of absinthe, but is always intriguing, and at times compelling. Their post-punk and new wave inclinations will undoubtedly appeal to the Interpol crowd, though they add more to the mix making A Sea of Trees far more interesting, harder to nail down and ultimately more substantial. Ingredients outside of the vocals such as the harmonium, a cavernous production and a hazy psych wobble and cadence all gel into a unique sound, as disjointed as it all may seem up front. Repeated listenings solidify their sound as much as reveal how deeply romantic, and melancholic, A Sea of Trees is. The Blue Angel Lounge is thoroughly committed to their persona as well as experimenting with how they mix their influences without losing what makes it an oddly accessible album and a darkly poppy one underneath the smoke. In fact, it’s not hard to imagine them in that same lounge under a pall of nicotine haze, heartbreak and longing. Their fidelity to everything that goes into A Sea of Trees quickly overshadows, and overtakes, what could easily come off as overly serious poetic posturing. Escapist? Absolutely. Isn’t that what everyone’s looking for? The Blue Angel Lounge simply chooses to focus on a character that doesn’t get what they’re looking for. Repeatedly. Sounds like the real world … just done in an otherworldly way, and even with the heightened sense of drama and mood, pretty intimate. Just like that lounge probably was. Review by "mr. atavist" (http://mratavist.com)
RATING: ????????????????
.
Genre: Psychedelic Rock (Neo Psych/Shoegaze/Dark) / Germany
Once Winter sets in and Nils Ottensmeyer’s distinct vocals join in, it’s no wonder Germany’s The Blue Angel Lounge took their name from a NYC club that gave Nico some of her first live performances. Add in a little whiff of Ian Curtis and it’s crystal clear The Blue Angel Lounge are going to offer up something dark, moody and not without a little drama. A Sea of Trees crosses a few lines, dipping into a wider range of influences, if not genres, than most psych leaning bands for a chic, noirish vibe that may not be everyone’s cup of absinthe, but is always intriguing, and at times compelling. Their post-punk and new wave inclinations will undoubtedly appeal to the Interpol crowd, though they add more to the mix making A Sea of Trees far more interesting, harder to nail down and ultimately more substantial. Ingredients outside of the vocals such as the harmonium, a cavernous production and a hazy psych wobble and cadence all gel into a unique sound, as disjointed as it all may seem up front. Repeated listenings solidify their sound as much as reveal how deeply romantic, and melancholic, A Sea of Trees is. The Blue Angel Lounge is thoroughly committed to their persona as well as experimenting with how they mix their influences without losing what makes it an oddly accessible album and a darkly poppy one underneath the smoke. In fact, it’s not hard to imagine them in that same lounge under a pall of nicotine haze, heartbreak and longing. Their fidelity to everything that goes into A Sea of Trees quickly overshadows, and overtakes, what could easily come off as overly serious poetic posturing. Escapist? Absolutely. Isn’t that what everyone’s looking for? The Blue Angel Lounge simply chooses to focus on a character that doesn’t get what they’re looking for. Repeatedly. Sounds like the real world … just done in an otherworldly way, and even with the heightened sense of drama and mood, pretty intimate. Just like that lounge probably was. Review by "mr. atavist" (http://mratavist.com)
RATING: ????????????????
.
quarta-feira, 14 de maio de 2014
*. Camel .*
Album: In From The Cold (2014)(Audio Extracted from DVD)
Genre: Prog Rock (Symphonic/Classic Prog) / UK
After their triumphant autumn 2013 tour in support of the newly re-recorded: ‘Snow Goose’, CAMEL return on DVD with the complete show of the 28th October recorded at The Barbican in London. Their 2013 recording of the ‘Snow Goose’ was 2013’s (and the first part of 2014’s) best selling CD at CDS Towers, and this DVD is the perfect companion to it, with a complete performance of the re-vamped work and much more!
Songs / Tracks Listing - Set One: The Snow Goose
01. The Great Marsh
02. Rhayader
03. Rhayader Goes To Town
04. Sanctuary
05. Fritha
06. The Snow Goose
07. Friendship
08. Migration
09. Rhayader Alone
10. Flight Of The Snow Goose
11. Preparation
12. Dunkirk
13. Epitaph
14. Fritha Alone
15. La Princesse Perdue
16. The Great Marsh {Reprise}
Songs / Tracks Listing - Set Two:
01. Never Let Go
02. Song Within A Song
03. Echoes
04. The Hour Candle
05. Tell Me
06. Watching The Bobbins
07. Fox Hill
08. For Today
09. Lady Fantasy
Line-up / Musicians
Andrew Latimer / Guitars, flute, vocals, keyboard
Denis Clement / Drums, fretless bass, keyboard
Colin Bass / Bass, acoustic guitar, vocals
Guy LeBlanc / Leading keyboards, vocals
Jason Hart / Supporting keyboards, acoustic guitar, vocals
RATING: 9.25 / 10 (Obrigado ao Amigo Loyola !!!!! Que ripou o Audio do DVD)
.
Genre: Prog Rock (Symphonic/Classic Prog) / UK
After their triumphant autumn 2013 tour in support of the newly re-recorded: ‘Snow Goose’, CAMEL return on DVD with the complete show of the 28th October recorded at The Barbican in London. Their 2013 recording of the ‘Snow Goose’ was 2013’s (and the first part of 2014’s) best selling CD at CDS Towers, and this DVD is the perfect companion to it, with a complete performance of the re-vamped work and much more!
Songs / Tracks Listing - Set One: The Snow Goose
01. The Great Marsh
02. Rhayader
03. Rhayader Goes To Town
04. Sanctuary
05. Fritha
06. The Snow Goose
07. Friendship
08. Migration
09. Rhayader Alone
10. Flight Of The Snow Goose
11. Preparation
12. Dunkirk
13. Epitaph
14. Fritha Alone
15. La Princesse Perdue
16. The Great Marsh {Reprise}
Songs / Tracks Listing - Set Two:
01. Never Let Go
02. Song Within A Song
03. Echoes
04. The Hour Candle
05. Tell Me
06. Watching The Bobbins
07. Fox Hill
08. For Today
09. Lady Fantasy
Line-up / Musicians
Andrew Latimer / Guitars, flute, vocals, keyboard
Denis Clement / Drums, fretless bass, keyboard
Colin Bass / Bass, acoustic guitar, vocals
Guy LeBlanc / Leading keyboards, vocals
Jason Hart / Supporting keyboards, acoustic guitar, vocals
RATING: 9.25 / 10 (Obrigado ao Amigo Loyola !!!!! Que ripou o Audio do DVD)
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*. Petri Pettersson .*
Album: Ehkä meille vielä jää aikaa (1979)
Genre: Prog Rock (Rock/Pop/Jazz) / Finland
Songs / Tracks Listing
01. Ehkä meille vielä jää aikaa
02. Sait elämäsi näytelmään
03. Yö käski aamun tulla
04. Salaisuus
05. Kasvot kivessä
06. Marie A:n muistolle
07. Vieras
08. Annetaan lapsille maapallo
09. Tänä yönä voin kirjoittaa surullisimmat säkeeni
10. Suutele minulle siivet
Line-up / Musicians
Ilkka Pettersson / Written, Vocals
Pekka Tegelman / Guitar, Arranged, Written
Jarmo Savolainen / Piano, Organ
Raimo Salmiheimo / Bass
Juhani Aaltonen / Flute
Heikki Keskinen / Saxophone
Seppo Rauteva / Drums
Jorma Ylönen / Strings (Conducted)
Liisa Tavi / Backing Vocals
Pekka Aarnio / Backing Vocals, Producer
Otto Donner / Producer, Arranged
RATING: 7 / 10
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Genre: Prog Rock (Rock/Pop/Jazz) / Finland
Songs / Tracks Listing
01. Ehkä meille vielä jää aikaa
02. Sait elämäsi näytelmään
03. Yö käski aamun tulla
04. Salaisuus
05. Kasvot kivessä
06. Marie A:n muistolle
07. Vieras
08. Annetaan lapsille maapallo
09. Tänä yönä voin kirjoittaa surullisimmat säkeeni
10. Suutele minulle siivet
Line-up / Musicians
Ilkka Pettersson / Written, Vocals
Pekka Tegelman / Guitar, Arranged, Written
Jarmo Savolainen / Piano, Organ
Raimo Salmiheimo / Bass
Juhani Aaltonen / Flute
Heikki Keskinen / Saxophone
Seppo Rauteva / Drums
Jorma Ylönen / Strings (Conducted)
Liisa Tavi / Backing Vocals
Pekka Aarnio / Backing Vocals, Producer
Otto Donner / Producer, Arranged
RATING: 7 / 10
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terça-feira, 13 de maio de 2014
*. Pinkroom .*
Album: Unloved Toy (2014)
Genre: Prog Rock (Crossover/Heavy Prog) / Poland
Songs / Tracks Listing
01. Blow
02. Tides in Eye
03. I Confess
04. Seven Levels
05. Moodroom v.3
06. Enslaved
07. Flash
08. In Train
09. Unwanted Toys
10. Apology
Line-up / Musicians
Mariusz Boniecki / Vocals, Guitar
Marcin Kledzik / Drums, Percussions
Grzegorz Korybalski / Bass
Karol Szolz / Guitar
RATING: ????????????????
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Genre: Prog Rock (Crossover/Heavy Prog) / Poland
Songs / Tracks Listing
01. Blow
02. Tides in Eye
03. I Confess
04. Seven Levels
05. Moodroom v.3
06. Enslaved
07. Flash
08. In Train
09. Unwanted Toys
10. Apology
Line-up / Musicians
Mariusz Boniecki / Vocals, Guitar
Marcin Kledzik / Drums, Percussions
Grzegorz Korybalski / Bass
Karol Szolz / Guitar
RATING: ????????????????
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*. June Tabor .*
It is nearly impossible to qualitatively periodize Tabor's recorded output; all of it (with the exception of the record with the Oyster Band) is worth owning. It's not as if Tabor's early stuff is significantly better than her later work, it's a little different. In fact, I tend to play her later stuff as much, probably more than Airs and Graces, and I love that record. Angel Tiger is a perfect example of how well Tabor's voice has aged, becoming deeper and more luscious. On this disc, Elvis Costello gave her "All This Useless Beauty," and it's a stunning collaboration. She also brilliantly covers Billy Bragg's "Rumours of War," but the best track is a melancholy ballad entitled "Sudden Waves," which may be Tabor's greatest single moment on record. It's so rife with sadness, it's tough to listen to it without shedding a tear or two. Review by "John Dougan" (www.allmusic.com)
RATING: 8 / 10
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RATING: 8 / 10
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*. East .* (Reissue 2014 + Bonus)
Album: Blue Paradise (1981)(Reissue 2014 + 2 Bonus)
Genre: Prog Rock (Art Rock/AOR/Neo Prog) / Hungary
English Version of the Album "Játékok"
Nice album of this Hungarian Band. A fine Progressive style with keiboards and very nice guitar arrangements. Lot's of spacey parts that made a very good instrumental context. A good band of East Europe when we can find a litle of Pink Floyd and a litle of Camel. The drummer is in a classic neo-prog vein, with a nice intricate part's. The vocal parts are very nice but is in Hungarian and we do not understand the message of lyrics but they are very harmonic in this prog style. I think that this album and specialy, the 3 first albuns of this band, are a very good adiction of a Progressive collector, specialy a East Europe band in Iron Courtain time, because rock is prohibited. Very good musicians in a hostile environment, that6 create a very nice album that we must to hear with care, valuing the context in which it was create. I like this album and this band and I give 4 stars because the arrangements and the high quality of the musicians, they are worthy. A good album for the East Europe Prog Fans.
Review by "João Paulo" (Prog Archives).
Songs / Tracks Listing
01. Ouverture (3:28)
02. Far Away With The Clouds (5:41)
03. Fly Away (5:28)
04. Blue-Black Vision (2:16)
05. Diamond Bird (4:01)
06. Breath (3:06)
07. Shadow (3:58)
08. Message (4:20)
09. Epilogue (2:28)
10. Hope (4:44)
11. Sirens (4:04) (Bonus)
12. The Tones Of Truth (4:14) (Bonus)
Line-up / Musicians
István Király / drums, percussion
Péter Móczán / bass
Géza Pálvólgyi / keyboards
János Varga / guitar
Miklós Zareczky / lead vocals
Ferenc Császár / keyboards (track's 11 & 12)
RATING: 8 / 10
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Genre: Prog Rock (Art Rock/AOR/Neo Prog) / Hungary
English Version of the Album "Játékok"
Nice album of this Hungarian Band. A fine Progressive style with keiboards and very nice guitar arrangements. Lot's of spacey parts that made a very good instrumental context. A good band of East Europe when we can find a litle of Pink Floyd and a litle of Camel. The drummer is in a classic neo-prog vein, with a nice intricate part's. The vocal parts are very nice but is in Hungarian and we do not understand the message of lyrics but they are very harmonic in this prog style. I think that this album and specialy, the 3 first albuns of this band, are a very good adiction of a Progressive collector, specialy a East Europe band in Iron Courtain time, because rock is prohibited. Very good musicians in a hostile environment, that6 create a very nice album that we must to hear with care, valuing the context in which it was create. I like this album and this band and I give 4 stars because the arrangements and the high quality of the musicians, they are worthy. A good album for the East Europe Prog Fans.
Review by "João Paulo" (Prog Archives).
Songs / Tracks Listing
01. Ouverture (3:28)
02. Far Away With The Clouds (5:41)
03. Fly Away (5:28)
04. Blue-Black Vision (2:16)
05. Diamond Bird (4:01)
06. Breath (3:06)
07. Shadow (3:58)
08. Message (4:20)
09. Epilogue (2:28)
10. Hope (4:44)
11. Sirens (4:04) (Bonus)
12. The Tones Of Truth (4:14) (Bonus)
Line-up / Musicians
István Király / drums, percussion
Péter Móczán / bass
Géza Pálvólgyi / keyboards
János Varga / guitar
Miklós Zareczky / lead vocals
Ferenc Császár / keyboards (track's 11 & 12)
RATING: 8 / 10
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segunda-feira, 12 de maio de 2014
*. Riverson .* (Reissue + Bonus)
Album: Riverson (1973)(Reissue 2012 + 2 Bonus)
Genre: Prog Rock (Folk/Rock/Pop/Country) / Canada
Originally released in 1973, as this looks to be the Montreal, Quebec folk / rock band's sole album. Believe I've perhaps heard of this obscure Canadian band now and again. Tunes that I dug the most were the (simply) beautiful "Clear Night", their somewhat stunning Beatles cover "Eleanor Rigby", "Stoney Day", "Can't Live Without You", the uplifting "Sittin' Waitin'" and the well-written "Chances". Might draw in fans and followers of America, Smokie and possibly Byrds and Bread.
Songs / Tracks Listing
01. Clear Night
02. Winter Garden
03. Eleanor Rigby
04. I'll Be There
05. Empty Sky
06. Take Me
07. Stoney Day
08. Between the Lines
09. Can't Live Without You
10. Medallion Castle
11. Hermit Glen
12. Sittin' Waitin' (Bonus)
13. Chances (Bonus)
Line-up / Musicians
Franki Hart / vocals, piano, acoustic guitar
Rayburn Blake / vocals, acoustic & electric guitar, banjo
Brian Edwards / vocals, bass
Graham Lear / drums
RATING: 7.5 / 10
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Genre: Prog Rock (Folk/Rock/Pop/Country) / Canada
Originally released in 1973, as this looks to be the Montreal, Quebec folk / rock band's sole album. Believe I've perhaps heard of this obscure Canadian band now and again. Tunes that I dug the most were the (simply) beautiful "Clear Night", their somewhat stunning Beatles cover "Eleanor Rigby", "Stoney Day", "Can't Live Without You", the uplifting "Sittin' Waitin'" and the well-written "Chances". Might draw in fans and followers of America, Smokie and possibly Byrds and Bread.
Songs / Tracks Listing
01. Clear Night
02. Winter Garden
03. Eleanor Rigby
04. I'll Be There
05. Empty Sky
06. Take Me
07. Stoney Day
08. Between the Lines
09. Can't Live Without You
10. Medallion Castle
11. Hermit Glen
12. Sittin' Waitin' (Bonus)
13. Chances (Bonus)
Line-up / Musicians
Franki Hart / vocals, piano, acoustic guitar
Rayburn Blake / vocals, acoustic & electric guitar, banjo
Brian Edwards / vocals, bass
Graham Lear / drums
RATING: 7.5 / 10
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*. Tuner .*
Album: ZWAR (2010)(Live In Europe 2005)
Genre: Prog Electronic (Rio/Avant/Exp./Instrumental) / USA
Songs / Tracks Listing
01. Intro (0:18)
02. ZWAR (5:23)
03. Can Of Tuner (5:49)
04. Kiss The Earth (7:45)
05. Bells Of Köln (5:40)
06. Industry (10:04) (King Crimson cover)
07. The Morning Tide Washes Away What Happened At Night (9:33)
08. Outro (2:55)
Line-up / Musicians
Pat Mastelotto / electronics, percussion
Markus Reuter / electronics, keyboards, touch guitar
RATING: 7.25 / 10
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Genre: Prog Electronic (Rio/Avant/Exp./Instrumental) / USA
Songs / Tracks Listing
01. Intro (0:18)
02. ZWAR (5:23)
03. Can Of Tuner (5:49)
04. Kiss The Earth (7:45)
05. Bells Of Köln (5:40)
06. Industry (10:04) (King Crimson cover)
07. The Morning Tide Washes Away What Happened At Night (9:33)
08. Outro (2:55)
Line-up / Musicians
Pat Mastelotto / electronics, percussion
Markus Reuter / electronics, keyboards, touch guitar
RATING: 7.25 / 10
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domingo, 11 de maio de 2014
*. Den Fule .*
Album: Contrebande (2013)
Genre: Prog Folk (Nordic Folk/Jazz/World Music) / Sweden
The Swedish ensemble DEN FULE ("The Ugly One") has long had a name as one if the most exciting folk music groups in Scandinavia. Den Fule, like n other band, combines traditional Nordic folk music with influences from rock, jazz and world music, creating a unique brew of irresistible power and joyful playing. During the 1990s the group toured extensively throughout Sweden and Europe, achieving great success. In 1997 the band split up, the members continuing to work with other musical projects. After a decade of silence the band, which had been one of the folk music scenes most popular and active in the 90's, reformed in 2007. Den Fule today is effervescent like never before, presenting possibly an even broader range from raw funkiness to a more lyrical style. Den Fule received a Swedish Grammy for their first album "Lugumleik" in 1993. Since the reunion the group has played conserts and at festivals in Scotland, Turkey, and the U.S. as well as in the Scandinavian countries. Den Fule's collaboration with the Senegalese kora player Solo Cissokho resulted in a Senegal tour together with Solo in the winter of 2011/2012, and in a cd, "Contrebande", which was released in August 2013. Contrebande also features the participation of Senegalese singer Adama Cissokho and Canadian spoken word artist Sofia Baig. These guests, Solo, Adama and Sofia, also joined Den Fule on their Sweden tour in August 2013. (www.womex.com)
Songs / Tracks Listing
01. Slit och släng / Kenote
02. Maala / Maalahalling
03. Soumsoum
04. Dolo / Tussegubben
05. Gubben / Manssolou
06. Lame and Mute / Sahadougou
RATING: 7.5 / 10
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Genre: Prog Folk (Nordic Folk/Jazz/World Music) / Sweden
The Swedish ensemble DEN FULE ("The Ugly One") has long had a name as one if the most exciting folk music groups in Scandinavia. Den Fule, like n other band, combines traditional Nordic folk music with influences from rock, jazz and world music, creating a unique brew of irresistible power and joyful playing. During the 1990s the group toured extensively throughout Sweden and Europe, achieving great success. In 1997 the band split up, the members continuing to work with other musical projects. After a decade of silence the band, which had been one of the folk music scenes most popular and active in the 90's, reformed in 2007. Den Fule today is effervescent like never before, presenting possibly an even broader range from raw funkiness to a more lyrical style. Den Fule received a Swedish Grammy for their first album "Lugumleik" in 1993. Since the reunion the group has played conserts and at festivals in Scotland, Turkey, and the U.S. as well as in the Scandinavian countries. Den Fule's collaboration with the Senegalese kora player Solo Cissokho resulted in a Senegal tour together with Solo in the winter of 2011/2012, and in a cd, "Contrebande", which was released in August 2013. Contrebande also features the participation of Senegalese singer Adama Cissokho and Canadian spoken word artist Sofia Baig. These guests, Solo, Adama and Sofia, also joined Den Fule on their Sweden tour in August 2013. (www.womex.com)
Songs / Tracks Listing
01. Slit och släng / Kenote
02. Maala / Maalahalling
03. Soumsoum
04. Dolo / Tussegubben
05. Gubben / Manssolou
06. Lame and Mute / Sahadougou
RATING: 7.5 / 10
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*. The Dr. Joe Project .*
Album: The Path (2014)
Genre: Prog Rock (Crossover/Medieval/Folk) / USA
The Path started out as a group project by Subtle Force, my progressive rock group. In late 2012 we made headway, recording three original tunes and learning a few covers by Kansas, Yes, Moody Blues, and Vanilla Fudge. We also had already written songs and sketches on the boards when everyone got busy. Consequently, I proceeded to record the remaining six songs on my own, with a little help from my friends. The CD came out in March of 2014.
Beiow is the Program:
Genre: Prog Rock (Crossover/Medieval/Folk) / USA
The Path started out as a group project by Subtle Force, my progressive rock group. In late 2012 we made headway, recording three original tunes and learning a few covers by Kansas, Yes, Moody Blues, and Vanilla Fudge. We also had already written songs and sketches on the boards when everyone got busy. Consequently, I proceeded to record the remaining six songs on my own, with a little help from my friends. The CD came out in March of 2014.
Beiow is the Program:
TRACK 1: The Path of Wood and Steel (J. Baldassarre) - This song is about an older guitar player who hears a talented young man just starting his career. He relates his own beginnings and wonders about the future of the young guitarist. "There with the grace of God was I."The song features a dreamlike introduction that reappears after the verses. The ending is an extensive instrumental, first by the organ, then guitar.
TRACK 2: Will You Love Me Tomorrow (G.Goffin/C.King) - The only cover song totally reworks the Shirelles hit into a 7-minute foray in the style of Vanilla Fudge. The fretless based solo near the beginning and {backwards) guitar solo half-way through are based on a melody by the 12th-century Abbess, Hildegard von Bingen.
TRACK 3: Beacons (S.Baldassarre, J.Jensen, J.Baldassarre) - My son, Stephen, came up with the concept and chord progression for this one. Our friend Jamie Jensen wrote the lyrics for this love song with a lot of great imagery. I organized, edited and arranged the song. It features a "hook" in 3-part harmony with violin and 2 guitars.
TRACK 4: Fortuna Desperata (Antoine Busnoys) - Busnoys is a bridge composer between the medieval and renaissance - but this court song is in the medieval, 3-part polyphonic style. In the opening third of this track, the 3 melodies are played on electric guitars, with chords and rhythm section inferred. The middle third is with typical medieval style and instrumentation, while the final third is modern and medieval together.
TRACK 5: Saltarello (15th-century Italian) - This is the first of two straight thefts from the late Middle Ages. The dance starts with typical mediaThl instrumentation, soon to be accompanied by modern rock instruments and inferred chords. At the halfway point, it comes a rock jam between the organ and guitar to the end of the piece.
TRACK 6: Azure Blue (J.Baldassarre) - This song was inspired by my wife, Jan - with the Azure Blue eyes. The changing meters came to the songs naturally.
TRACK 7: Birth of the Sun (J.Baldassarre) - When I was at the conservatory, I didm;t know what music degree I wanted to pursue, so this was the most song-like melodies I wrote. I had intended to do something with it (it was originally for flute and piano), and here it is.
TRACK 8: Triptych (J.Baldassarre) - This describes the painting "The Garden of Earthly Delights" by Heironymouys Bosch. The three panel;s are painted with instrument here: Center panel, Left panel, Right panel, and returning to the Center again.
TRACK 9: Blind Eyes Closecd (J.Baldassarre) - Before setting this poem to music, I showed it to several people. Each came up with their own idea of what they mean.... PERFECT. Needless to say, it is dark and full of angst. (www.drjoeb.com)
RATING: 7.25 / 10
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*. Masal (Jean-Paul Prat) .*
Album: Viens des Quatre Vents (2014)
Genre: Prog Rock (Jazz Fusion/Zeuhl/Avant Prog) / France
Songs / Tracks Listing
01. A Pied Sec (5:59)
02. Viens Des Quatre Vents (11:21)
03. Mer Suspendue (5:37)
04. Ayer, Hoy Y Siempre (10:48)
05. Paysages Du Ciel III (10:32)
Line-up / Musicians
Jean Paul Prat / piano
Jean Prat / drums
Jérome Trigon / bass
Vincent Brizoux / saxophones
Steve Marsala / guitar
RATING: ??????????????
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Genre: Prog Rock (Jazz Fusion/Zeuhl/Avant Prog) / France
Songs / Tracks Listing
01. A Pied Sec (5:59)
02. Viens Des Quatre Vents (11:21)
03. Mer Suspendue (5:37)
04. Ayer, Hoy Y Siempre (10:48)
05. Paysages Du Ciel III (10:32)
Line-up / Musicians
Jean Paul Prat / piano
Jean Prat / drums
Jérome Trigon / bass
Vincent Brizoux / saxophones
Steve Marsala / guitar
RATING: ??????????????
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sábado, 10 de maio de 2014
*. Lisa Hammer .*
Album: Dakini (2009)
Genre: Ethereal Wave (Ambient/Folk/Neoclassical) / USA
I wasn't that impressed with this album. I almost didn't buy this cd because the moment I read the word "ambience" I knew that it would be nothing like her Mors Syphilitica albums which I love love love so much! I tend to stay away from bands that are linked to ambience-like descriptions because to me that means soundscapes which doesn't hold my interest usually) But since Mors Syphilitica is my favorite goth band ever, I thought I would give Dakini a chance because Lisa's voice is beautiful. Lisa writes, "The intention behind this cd was to create music for ritual, meditation and sex." Oh yes, I can see that with this album. I can see myself having it playing in the background while painting. That's as close as I'll get to meditating though. I don't think I would go out of my way to pop this in my car stereo on my way to work. It kills me to admit that because I really love Lisa Hammer's voice. Nothing really grabbed me, unfortunately. Review by "Shelley D. Brook" (www.amazon.com).
RATING: 7 / 10
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Genre: Ethereal Wave (Ambient/Folk/Neoclassical) / USA
I wasn't that impressed with this album. I almost didn't buy this cd because the moment I read the word "ambience" I knew that it would be nothing like her Mors Syphilitica albums which I love love love so much! I tend to stay away from bands that are linked to ambience-like descriptions because to me that means soundscapes which doesn't hold my interest usually) But since Mors Syphilitica is my favorite goth band ever, I thought I would give Dakini a chance because Lisa's voice is beautiful. Lisa writes, "The intention behind this cd was to create music for ritual, meditation and sex." Oh yes, I can see that with this album. I can see myself having it playing in the background while painting. That's as close as I'll get to meditating though. I don't think I would go out of my way to pop this in my car stereo on my way to work. It kills me to admit that because I really love Lisa Hammer's voice. Nothing really grabbed me, unfortunately. Review by "Shelley D. Brook" (www.amazon.com).
RATING: 7 / 10
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*. Baku .*
Album: Dirge on the Pyre (1994)
Genre: Prog Rock (Folk/Crossover/Symphonic Prog) / Germany
Songs / Tracks Listing
01. Overture / My Fate Is Sealed Tonight (7:56)
02. Yellow Press (2:53)
03. Innocent (4:20)
04. No Brain No Pain (3:44)
05. Man in the Shadow (5:00)
06. Black Magic (4:04)
07. Why (6:28)
08. Edward (4:30)
09. When the Pyre Has Lost It's Light (4:50)
Line-up / Musicians
Armin Bachhuber / guitars, vocals
Stefan Kugler / bass, guitars, vocals
Marcus Waloschik / guitars
Tango Geissler / keyboards, trombone
Thomas Ingrisch / drums
RATING: 8.75 / 10 **MARVELLOUS**
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Genre: Prog Rock (Folk/Crossover/Symphonic Prog) / Germany
Songs / Tracks Listing
01. Overture / My Fate Is Sealed Tonight (7:56)
02. Yellow Press (2:53)
03. Innocent (4:20)
04. No Brain No Pain (3:44)
05. Man in the Shadow (5:00)
06. Black Magic (4:04)
07. Why (6:28)
08. Edward (4:30)
09. When the Pyre Has Lost It's Light (4:50)
Line-up / Musicians
Armin Bachhuber / guitars, vocals
Stefan Kugler / bass, guitars, vocals
Marcus Waloschik / guitars
Tango Geissler / keyboards, trombone
Thomas Ingrisch / drums
RATING: 8.75 / 10 **MARVELLOUS**
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sexta-feira, 9 de maio de 2014
*. The Golden Grass .* (Album + Single)
Album: The Golden Grass (2014)
Single: One More Time / Tornado (2013)
Genre: Psychedelic Rock (Stoner/Blues/Hard Rock) / USA
The Golden Grass. I bet you already know what this band sounds like, and you’re probably right, however, this is an album that stands out from the pack of aspiring retro rockers. Sure the name is painfully typical, but this isn’t your run of the mill heavy psych. There are indeed many things that make this album much more than YET ANOTHER throwback album. Read on, sucker. The one difference I find that makes this band sound a lot fresher than their peers is that genuine “upbeat” feel to the sound. This was what the 60’s and70’s all boiled down to. Bands like Cactus, Led Zeppelin, Cream, CCR and the myriad of legends from that time period possessed. It was serious music with soul. There is nothing like ripping down the highway to CCR’s Fortunate Son, and that same feeling is translated here – although a tad heavier than CCR. These guys are the result of throwing Cactus and Zeppelin into a blender, sprinkling in some sprawling psychedelic soundscapes and then letting them hit the same bowl. The riffs are totally solid and memorable. They’re heavy, and engulfing and full of that old school boogie that makes this style of rock awesome in the first place. Plus the added psychedelic elements really make this a smorgasbord of elements. As an example, take the twelve minute epic, Wheels, which really defines the band in my eyes. It’s got the blues, the hard rock, the psychedelic tendencies, and above all else the masterful songwriting ability of this band that ties it all together. It truly doesn’t get any better than this. Overall, this is a very solid debut from a band that I see totally taking the scene by storm. I haven’t been this excited for a new band in quite some time. Mark this one down, because these guys will be storming year end lists everywhere. This one’s a definite keeper. Review by "Paul Ferritto (Fritz)" (http://axisofmetal.com).
RATING: 8.5 / 10 **GREAT**
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Single: One More Time / Tornado (2013)
Genre: Psychedelic Rock (Stoner/Blues/Hard Rock) / USA
The Golden Grass. I bet you already know what this band sounds like, and you’re probably right, however, this is an album that stands out from the pack of aspiring retro rockers. Sure the name is painfully typical, but this isn’t your run of the mill heavy psych. There are indeed many things that make this album much more than YET ANOTHER throwback album. Read on, sucker. The one difference I find that makes this band sound a lot fresher than their peers is that genuine “upbeat” feel to the sound. This was what the 60’s and70’s all boiled down to. Bands like Cactus, Led Zeppelin, Cream, CCR and the myriad of legends from that time period possessed. It was serious music with soul. There is nothing like ripping down the highway to CCR’s Fortunate Son, and that same feeling is translated here – although a tad heavier than CCR. These guys are the result of throwing Cactus and Zeppelin into a blender, sprinkling in some sprawling psychedelic soundscapes and then letting them hit the same bowl. The riffs are totally solid and memorable. They’re heavy, and engulfing and full of that old school boogie that makes this style of rock awesome in the first place. Plus the added psychedelic elements really make this a smorgasbord of elements. As an example, take the twelve minute epic, Wheels, which really defines the band in my eyes. It’s got the blues, the hard rock, the psychedelic tendencies, and above all else the masterful songwriting ability of this band that ties it all together. It truly doesn’t get any better than this. Overall, this is a very solid debut from a band that I see totally taking the scene by storm. I haven’t been this excited for a new band in quite some time. Mark this one down, because these guys will be storming year end lists everywhere. This one’s a definite keeper. Review by "Paul Ferritto (Fritz)" (http://axisofmetal.com).
RATING: 8.5 / 10 **GREAT**
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*. Focus .*
Album: Golden Oldies (2014)
Genre: Prog Rock (Symphonic/Classic Prog) / Holland
Legendary Dutch band Focus have revisited and re-recorded some over their classic tracks for the release of the 11th studio album. Golden Oldies features the current Focus line-up of Thijs Van Leer, Pierre Van Der Linden, Bobby Jacobs and Menno Gootjes – and will be released on 14th April 2014 through the Cherry Red label.
It seems common now for 'older' bands to re-record their hits, either to allow them to be licensed out and released without having to obtain expensive licenses from the original record label the songs were recorded under. These re-recordings of old Focus tunes by the current lineup is both energetic and entertaining, whether it's the frantic guitar/flute riffing of the classic Hocus Pocus, the cod-medieval organ riffing of Focus 1 or the slightly funky Sylvia. The main bone contention is the lack of Jan Akerman, who hasn't been in Focus for some years now, but the guitarist here Menno Gootjes, does a fantastic job, as do the rest of the Focus lineup - Thij Van Der Leers is on top form with his flute playing and hammond organ, although his vocals are no longer in the range they used to be. If you already have all the Focus albums, I'm not sure you'd want this - unless you want to hear the current lineup playing the hits. However, that's up to you. The album is a fine set of recordings, and Focus today does Focus of the band justice. Review by "The Soft Machine Operator" (www.amazon.co.uk).
RATING: 8.25 / 10
.
Genre: Prog Rock (Symphonic/Classic Prog) / Holland
Legendary Dutch band Focus have revisited and re-recorded some over their classic tracks for the release of the 11th studio album. Golden Oldies features the current Focus line-up of Thijs Van Leer, Pierre Van Der Linden, Bobby Jacobs and Menno Gootjes – and will be released on 14th April 2014 through the Cherry Red label.
It seems common now for 'older' bands to re-record their hits, either to allow them to be licensed out and released without having to obtain expensive licenses from the original record label the songs were recorded under. These re-recordings of old Focus tunes by the current lineup is both energetic and entertaining, whether it's the frantic guitar/flute riffing of the classic Hocus Pocus, the cod-medieval organ riffing of Focus 1 or the slightly funky Sylvia. The main bone contention is the lack of Jan Akerman, who hasn't been in Focus for some years now, but the guitarist here Menno Gootjes, does a fantastic job, as do the rest of the Focus lineup - Thij Van Der Leers is on top form with his flute playing and hammond organ, although his vocals are no longer in the range they used to be. If you already have all the Focus albums, I'm not sure you'd want this - unless you want to hear the current lineup playing the hits. However, that's up to you. The album is a fine set of recordings, and Focus today does Focus of the band justice. Review by "The Soft Machine Operator" (www.amazon.co.uk).
RATING: 8.25 / 10
.
quinta-feira, 8 de maio de 2014
*. June Tabor .*
Album: Aleyn (1997)
Genre: Prog Folk (Acoustic/Contemporary Folk/Vocal Jazz) / UK
June Tabor opens her latest album with a bang, delivering what may be the final definitive version of Richard Thompson's "The Great Valerio" -- perhaps the first performance to rival Linda Thompson's. Though it is marred slightly by her longstanding tendency to get all clenched and growly at predictable points in the narrative ("He Fades Away" and "No Man's Land" from her earlier albums), that bone-chilling hymn of disillusionment has never had a more affecting delivery than this one. From there she moves into the gentle and heartbreaking traditional ballad "I Wonder Where My True Love Is Tonight," and she's off and running through a minefield of emotion, from the draining Holocaust song "Di Nakht" to such folkier fare as "The Fiddler" and "Go from My Window." Tabor's accompaniment is worth noting. In recent years it has become much artier, focusing more on piano and winds than on fiddle and guitar. And at times the art-song approach sounds overdone -- "No Good at Love" sounds jarringly like secondhand Kurt Weill. But it can also work well, as on the delicate "Go from My Window." "April Morning," in which she sings "O if I had but my own heart back again/Safe in my bosom I would lock it up forever," is accompanied by nothing more than a little piano and a dab of viola, leaving her sturdy, dark voice to run the whole show. It's a marvelous moment, one of many on this nearly stunning record. Review by "Rick Anderson" (www.allmusic.com).
RATING: 7.75 / 10
.
Genre: Prog Folk (Acoustic/Contemporary Folk/Vocal Jazz) / UK
June Tabor opens her latest album with a bang, delivering what may be the final definitive version of Richard Thompson's "The Great Valerio" -- perhaps the first performance to rival Linda Thompson's. Though it is marred slightly by her longstanding tendency to get all clenched and growly at predictable points in the narrative ("He Fades Away" and "No Man's Land" from her earlier albums), that bone-chilling hymn of disillusionment has never had a more affecting delivery than this one. From there she moves into the gentle and heartbreaking traditional ballad "I Wonder Where My True Love Is Tonight," and she's off and running through a minefield of emotion, from the draining Holocaust song "Di Nakht" to such folkier fare as "The Fiddler" and "Go from My Window." Tabor's accompaniment is worth noting. In recent years it has become much artier, focusing more on piano and winds than on fiddle and guitar. And at times the art-song approach sounds overdone -- "No Good at Love" sounds jarringly like secondhand Kurt Weill. But it can also work well, as on the delicate "Go from My Window." "April Morning," in which she sings "O if I had but my own heart back again/Safe in my bosom I would lock it up forever," is accompanied by nothing more than a little piano and a dab of viola, leaving her sturdy, dark voice to run the whole show. It's a marvelous moment, one of many on this nearly stunning record. Review by "Rick Anderson" (www.allmusic.com).
RATING: 7.75 / 10
.
*. José Cid .*
Album: My Music (1980)
Genre: Prog Rock (Rock/Pop) / Portugal
Songs / Tracks Listing
01. Too Many Nights
02. Ode to The Beatles
03. A Love to Share
04. Count James
05. Yesterday, Today and Tomorrow
06. I Kissed Her Goodbye
07. So Nice, so Fair, so Gay
08. Sycamore Square
09. In My Hideway
10. Big Brother Joe
Line-up / Musicians
José Cid / pianos, synthesizers, strings, Mellotron, vocals
RATING: 6.75 / 10
.
Genre: Prog Rock (Rock/Pop) / Portugal
Songs / Tracks Listing
01. Too Many Nights
02. Ode to The Beatles
03. A Love to Share
04. Count James
05. Yesterday, Today and Tomorrow
06. I Kissed Her Goodbye
07. So Nice, so Fair, so Gay
08. Sycamore Square
09. In My Hideway
10. Big Brother Joe
Line-up / Musicians
José Cid / pianos, synthesizers, strings, Mellotron, vocals
RATING: 6.75 / 10
.
quarta-feira, 7 de maio de 2014
*. Flor de Loto .*
Album: Nuevo Mesias (2014)
Genre: Prog Rock (Crossover/Prog Folk) / Peru
Songs / Tracks Listing
01. Nuevo Mesias
02. La Tabla Esmeralda
03. Espejo Del Alma
04. Cumbemayo
05. En Otro Lugar
06. Caleidoscopio
07. Hipnotizame
08. Creados Del Fuego
09. Rumbo A La Eternidad
Line-up / Musicians
Alonso Herrera / electric & acoustic guitars, lead & backing vocals
Alejandro Jarrin / bass
Junior Pacora / flutes, Andean woodwinds, charango, tenor sax
Alvaro Escobar / drums, percussion
Ignacio Flores / electric guitar
Daniel Lopez Gutierrez / keyboards
Agustina Gonzalez Gracia / backing vocals
RATING: ???????????????
.
Genre: Prog Rock (Crossover/Prog Folk) / Peru
Songs / Tracks Listing
01. Nuevo Mesias
02. La Tabla Esmeralda
03. Espejo Del Alma
04. Cumbemayo
05. En Otro Lugar
06. Caleidoscopio
07. Hipnotizame
08. Creados Del Fuego
09. Rumbo A La Eternidad
Line-up / Musicians
Alonso Herrera / electric & acoustic guitars, lead & backing vocals
Alejandro Jarrin / bass
Junior Pacora / flutes, Andean woodwinds, charango, tenor sax
Alvaro Escobar / drums, percussion
Ignacio Flores / electric guitar
Daniel Lopez Gutierrez / keyboards
Agustina Gonzalez Gracia / backing vocals
RATING: ???????????????
.
*. Monarch Trail .*
Album: Skye (2014)
Genre: Prog Rock (Symphonic Prog) / Canada
When keyboard player/vocalist Ken Baird had written some music which seemed to require more collaborative arrangements than usual, he asked drummer Chris Lamont and Bassist Dino Verginella if they’d be willing to be a part of “Monarch Trail”. Lamont had played on Baird’s previous three albums and Verginella on the previous two, so it was a natural thing that it could be called a group. The first stage was to set up several rehearsals for the trio to work on arranging the new pieces. Important changes were made to the charts; an extra set of bars here, a new melody line there, a different tempo over there and so on. Even more importantly, these rehearsals also turned out to be a ton of fun with no lack of shenanigans! They made the decision to start recording the music right away and add other musicians when needed. As it turned out, there was to be a fair bit of guitar on the record, so guitarist friends were brought in providing “the right part for the right track”. True to the spirit of the project, John Mamone, Kelly Kereliuk and Steve Cochrane all had major creative input on their solos and sections. The recording was done by Ken Baird, but in the final months of the record, Cochrane also lent his studio and his recording and mastering abilities. Drawings by Annette Roche had initially helped inspire the lyrics, so these drawings ultimately became part of the album artwork. And so here we have it, the first album from Monarch Trail: “Skye”! (www.monarchtrail.com)
RATING: 8.5 / 10 **MARVELLOUS**
.
Genre: Prog Rock (Symphonic Prog) / Canada
When keyboard player/vocalist Ken Baird had written some music which seemed to require more collaborative arrangements than usual, he asked drummer Chris Lamont and Bassist Dino Verginella if they’d be willing to be a part of “Monarch Trail”. Lamont had played on Baird’s previous three albums and Verginella on the previous two, so it was a natural thing that it could be called a group. The first stage was to set up several rehearsals for the trio to work on arranging the new pieces. Important changes were made to the charts; an extra set of bars here, a new melody line there, a different tempo over there and so on. Even more importantly, these rehearsals also turned out to be a ton of fun with no lack of shenanigans! They made the decision to start recording the music right away and add other musicians when needed. As it turned out, there was to be a fair bit of guitar on the record, so guitarist friends were brought in providing “the right part for the right track”. True to the spirit of the project, John Mamone, Kelly Kereliuk and Steve Cochrane all had major creative input on their solos and sections. The recording was done by Ken Baird, but in the final months of the record, Cochrane also lent his studio and his recording and mastering abilities. Drawings by Annette Roche had initially helped inspire the lyrics, so these drawings ultimately became part of the album artwork. And so here we have it, the first album from Monarch Trail: “Skye”! (www.monarchtrail.com)
RATING: 8.5 / 10 **MARVELLOUS**
.
*. Pyramidal .*
Album: Live Freaks (2014)
Genre: Psychedelic Space Rock (Stoner/Jam Band) / Spain
Live at FREAK VALLEY FESTIVAL 2013 - 1st June - Netphen, Germany
Songs / Tracks Listing
01. Kosmik Blizzard (05:08)
02. Black Land (08:07)
03. Sons of Light (06:22)
04. Tempel Iaru (09:38)
05. Dawn in Space (09:20)
Line-up / Musicians
Miguel Rodes / Electric Bass Guitar
Miguel Angel Sanz / Electric Guitar and Synthesizer
Óscar Soler / Electric Guitar, Acoustic Guitar and Voice
Lluís Mas / Drums and Percussion
RATING: 8.25 / 10 **GREAT**
.
Genre: Psychedelic Space Rock (Stoner/Jam Band) / Spain
Live at FREAK VALLEY FESTIVAL 2013 - 1st June - Netphen, Germany
Songs / Tracks Listing
01. Kosmik Blizzard (05:08)
02. Black Land (08:07)
03. Sons of Light (06:22)
04. Tempel Iaru (09:38)
05. Dawn in Space (09:20)
Line-up / Musicians
Miguel Rodes / Electric Bass Guitar
Miguel Angel Sanz / Electric Guitar and Synthesizer
Óscar Soler / Electric Guitar, Acoustic Guitar and Voice
Lluís Mas / Drums and Percussion
RATING: 8.25 / 10 **GREAT**
.
terça-feira, 6 de maio de 2014
*. Strange Land .*
Album: ∆v (2014)
Genre: Prog Rock (Hard Rock/Prog Metal) / USA
Songs / Tracks Listing
01. Un-Fare for the Common Man
02. Evening Stroll
03. Under Watchful Eyes
04. Dr. Manhattan
05. Tetsuro in Honorable Pursuit of Oneness With His Instrument
06. Protagonize
07. Whisper Change
08. Solid
09. Root Canal in 3-Part Harmony
10. Luke's Blue Serial
11. Launch Window
12. Flare
13. Burn
Line-up / Musicians
Sean T. Gill / Guitar/Bass/Vocals/Keys and Programming
Brad Klotz / Drums/Vocals/Winds and Brasses
RATING: ???????????
.
Genre: Prog Rock (Hard Rock/Prog Metal) / USA
Songs / Tracks Listing
01. Un-Fare for the Common Man
02. Evening Stroll
03. Under Watchful Eyes
04. Dr. Manhattan
05. Tetsuro in Honorable Pursuit of Oneness With His Instrument
06. Protagonize
07. Whisper Change
08. Solid
09. Root Canal in 3-Part Harmony
10. Luke's Blue Serial
11. Launch Window
12. Flare
13. Burn
Line-up / Musicians
Sean T. Gill / Guitar/Bass/Vocals/Keys and Programming
Brad Klotz / Drums/Vocals/Winds and Brasses
RATING: ???????????
.
*. ARZ .*
Album: Solomon's Key (2007)
Genre: Prog Rock (Heavy/Crossover/Exp./Jazz/Metal) / USA
Steve Adams, under his progressive moniker of ARZ, releases his first album since the 2005 twin releases of Serai and The Magi. This time round the album is available as a digital download only, through the usual digital distribution outlets. The previous albums were entirely solo efforts with Adams composing and playing everything. On this latest release Adams is joined by drummer Merrill Hale who also contributed to the composition of the last two tracks on the album. Notably heavier than either Serai or The Magi, the album flirts with progressive metal in places but is saved from over-indulgence in that genre by comprehensive use of different styles and guitar sounds. Once more influences from around the globe are evident with, on the title track in particular, Middle Eastern overtones present. There is no doubt that Adams is a very versatile guitar player, his use of the full range of the six-string instrument shows that he is no slouch as a master of the instrument, and the contrapuntal elements throughout his music are often sublime. However, opening tracks Almadel and Babylon display the heavier direction of the music, with grinding guitars and incessant riffs. This is a theme throughout the album, but fortunately there are plenty of other aspects to the album that lift it above the usual grind. For instance, on Saracen we get a tabla and sitar introduction, a tubular bells solo plus electric and acoustic guitar solos. India offers a contrast, with a very authentic Indian classical music derived introduction. The track continues in a relatively sedate manner with a nice blend of Eastern and Western music. The first of the two large scale compositions on the album, Lemegaton, is a diverse and interesting piece of music, more in line with the style of the earlier albums. Again, the jazz-inflected rock of early Al Di Meola is brought to mind throughout. The mixture of acoustic and sitar guitar on Jester's Court is lovely with these two instruments performing a soothing duet that is a calm before the electric maelstrom of Burning Bush. Hale's writing input on this number is obvious from the inventive and engaging drum patterns throughout, whether backing the passages of frantic electric soloing or guiding the rhythm of the acoustic sections, it all sets the scene for the epic title track. An eighteen and a half minute track of predominantly guitar and percussion could be a recipe for overload and over-indulgence. Fortunately, Adams and Hale are skilful enough musicians to avoid going over the top or repeating themselves. Once again it is the various textures provided by the different guitars employed throughout, the changes in tempo, the stylistic variations and the quality of the playing that provides the overwhelming redeeming features of this track and, indeed, the whole CD. I have to confess that a lot, if not all, of metal-type music leaves me cold and I find some of the more frantic numbers rather pointless. There are times throughout this album when I wish that the really heavy elements could have been missed off or toned down and the focus more concentrated on the more diverse, aspects of the album. However, having said that, there is more than enough diversity for the metal aspects to be considered as simply part of the palette of compositional tools employed in the creation of the overall work. The quality of the compositions and performance is easily the equal of the earlier ARZ releases and if those albums were to your fancy then Solomon's Key will be as well. Review by "Mark Hughes" (www.dprp.net).
RATING: 7.5 / 10
.
Genre: Prog Rock (Heavy/Crossover/Exp./Jazz/Metal) / USA
Steve Adams, under his progressive moniker of ARZ, releases his first album since the 2005 twin releases of Serai and The Magi. This time round the album is available as a digital download only, through the usual digital distribution outlets. The previous albums were entirely solo efforts with Adams composing and playing everything. On this latest release Adams is joined by drummer Merrill Hale who also contributed to the composition of the last two tracks on the album. Notably heavier than either Serai or The Magi, the album flirts with progressive metal in places but is saved from over-indulgence in that genre by comprehensive use of different styles and guitar sounds. Once more influences from around the globe are evident with, on the title track in particular, Middle Eastern overtones present. There is no doubt that Adams is a very versatile guitar player, his use of the full range of the six-string instrument shows that he is no slouch as a master of the instrument, and the contrapuntal elements throughout his music are often sublime. However, opening tracks Almadel and Babylon display the heavier direction of the music, with grinding guitars and incessant riffs. This is a theme throughout the album, but fortunately there are plenty of other aspects to the album that lift it above the usual grind. For instance, on Saracen we get a tabla and sitar introduction, a tubular bells solo plus electric and acoustic guitar solos. India offers a contrast, with a very authentic Indian classical music derived introduction. The track continues in a relatively sedate manner with a nice blend of Eastern and Western music. The first of the two large scale compositions on the album, Lemegaton, is a diverse and interesting piece of music, more in line with the style of the earlier albums. Again, the jazz-inflected rock of early Al Di Meola is brought to mind throughout. The mixture of acoustic and sitar guitar on Jester's Court is lovely with these two instruments performing a soothing duet that is a calm before the electric maelstrom of Burning Bush. Hale's writing input on this number is obvious from the inventive and engaging drum patterns throughout, whether backing the passages of frantic electric soloing or guiding the rhythm of the acoustic sections, it all sets the scene for the epic title track. An eighteen and a half minute track of predominantly guitar and percussion could be a recipe for overload and over-indulgence. Fortunately, Adams and Hale are skilful enough musicians to avoid going over the top or repeating themselves. Once again it is the various textures provided by the different guitars employed throughout, the changes in tempo, the stylistic variations and the quality of the playing that provides the overwhelming redeeming features of this track and, indeed, the whole CD. I have to confess that a lot, if not all, of metal-type music leaves me cold and I find some of the more frantic numbers rather pointless. There are times throughout this album when I wish that the really heavy elements could have been missed off or toned down and the focus more concentrated on the more diverse, aspects of the album. However, having said that, there is more than enough diversity for the metal aspects to be considered as simply part of the palette of compositional tools employed in the creation of the overall work. The quality of the compositions and performance is easily the equal of the earlier ARZ releases and if those albums were to your fancy then Solomon's Key will be as well. Review by "Mark Hughes" (www.dprp.net).
RATING: 7.5 / 10
.
segunda-feira, 5 de maio de 2014
*. Shadow Merchant .*
Album: The Tunnel (2014)
Genre: Prog Rock (Heavy/Crossover Prog) / USA
Songs / Tracks Listing
01. Alpha
02. Noah
03. The Architect
04. Selfless Devotion
05. Once
06. Mid-Life Crisis
07. Judgment Day
08. Into The Tunnel
09. The Kindness Of A Stranger
10. Along the Way
Line-up / Musicians
Don Henney / keyboards, background vocals
Paul McGinnis / drums
Sean Reiter / guitars, background vocals
Howard Whitman / bass, lead vocals
RATING: ??????????????
.
Genre: Prog Rock (Heavy/Crossover Prog) / USA
Songs / Tracks Listing
01. Alpha
02. Noah
03. The Architect
04. Selfless Devotion
05. Once
06. Mid-Life Crisis
07. Judgment Day
08. Into The Tunnel
09. The Kindness Of A Stranger
10. Along the Way
Line-up / Musicians
Don Henney / keyboards, background vocals
Paul McGinnis / drums
Sean Reiter / guitars, background vocals
Howard Whitman / bass, lead vocals
RATING: ??????????????
.
*. Anne-Marie Helder .*
Album: The Contact (2004)(Mini Album)
Genre: Prog Rock (Folk/Pop/Crossover Prog) / UK
Anne-Marie Helder, or the 'Little Red Rock Chick', blazes a trail through the world we know as music. Extraordinary in her voice, exceptional in her songwriting, gifted in her mastery of many instruments, and pure emotion in her performance.... there is no-one left unaffected when this incredible artist sings. Before performing as a solo artist, Anne-Marie wrote and played with many bands, including Tigerdragon, and then joined the Celtic indie/prog rock supergroup Karnataka. With them she was joint vocalist, and played the flute, electric guitar and percussion. Karnataka achieved great international success; Rachel Jones was the other leading lady of this band, who toured across Europe and North America. Anne-Marie went solo in late 2004, after the break-up of Karnataka*, and since then has toured extensively: in solo shows, songwriter festivals, and supporting rock legends such as Midge Ure, Glenn Tilbrook (Squeeze), Paul Young, Limehouse Lizzy and many others. In 2005 & 2006 Anne-Marie Helder was the official tour support for Fish, in his UK and European tours. Her debut solo EP - probably best defined as a 6-track mini-album, clocking in at 30 minutes - is called The Contact. It shows off her prowess as a multi-instrumentalist as well as a vocalist, with remarkably varied, yet often sparse instrumentation bringing the excellent songs to life. The Contact received radio play on BBC Radio 2 immediately after its release, and a glowing review in music magazine 'Classic Rock'. On the EP Anne plays guitar, piano, keyboards, a little flute, and percussion. Making guest appearances on the album are: Dave Kilminster on lead electric & classical guitars (who has played with John Wetton, Ken Hensley, Keith Emerson (The Nice, ELP), currently touring with Roger Waters ('06-07), and is also Anne-Marie's partner); Adam Pain, who adds some funky bass. Kilminster and Pain recorded & mixed the cd, and the three musicians co-produced. (www.mostlypink.net)
RATING: 7.5 / 10
.
Genre: Prog Rock (Folk/Pop/Crossover Prog) / UK
Anne-Marie Helder, or the 'Little Red Rock Chick', blazes a trail through the world we know as music. Extraordinary in her voice, exceptional in her songwriting, gifted in her mastery of many instruments, and pure emotion in her performance.... there is no-one left unaffected when this incredible artist sings. Before performing as a solo artist, Anne-Marie wrote and played with many bands, including Tigerdragon, and then joined the Celtic indie/prog rock supergroup Karnataka. With them she was joint vocalist, and played the flute, electric guitar and percussion. Karnataka achieved great international success; Rachel Jones was the other leading lady of this band, who toured across Europe and North America. Anne-Marie went solo in late 2004, after the break-up of Karnataka*, and since then has toured extensively: in solo shows, songwriter festivals, and supporting rock legends such as Midge Ure, Glenn Tilbrook (Squeeze), Paul Young, Limehouse Lizzy and many others. In 2005 & 2006 Anne-Marie Helder was the official tour support for Fish, in his UK and European tours. Her debut solo EP - probably best defined as a 6-track mini-album, clocking in at 30 minutes - is called The Contact. It shows off her prowess as a multi-instrumentalist as well as a vocalist, with remarkably varied, yet often sparse instrumentation bringing the excellent songs to life. The Contact received radio play on BBC Radio 2 immediately after its release, and a glowing review in music magazine 'Classic Rock'. On the EP Anne plays guitar, piano, keyboards, a little flute, and percussion. Making guest appearances on the album are: Dave Kilminster on lead electric & classical guitars (who has played with John Wetton, Ken Hensley, Keith Emerson (The Nice, ELP), currently touring with Roger Waters ('06-07), and is also Anne-Marie's partner); Adam Pain, who adds some funky bass. Kilminster and Pain recorded & mixed the cd, and the three musicians co-produced. (www.mostlypink.net)
RATING: 7.5 / 10
.
*. Terrón de Sueños .*
Album: Himno al Viento & Oye mi Saxo (1974)(Ep)
Genre: Prog Rock (Folk/Psych/Latin Jazz) / Colombia
Songs / Tracks Listing
01. Himno al Viento
02. Oye mi Saxo
Line-up / Musicians
Lizandro Zapata / vocals
Fabio Gomez / bass
Cesar Almonacid / guitar
Carlos Alvarez / drums
RATING: 8.5 / 10
.
Genre: Prog Rock (Folk/Psych/Latin Jazz) / Colombia
Songs / Tracks Listing
01. Himno al Viento
02. Oye mi Saxo
Line-up / Musicians
Lizandro Zapata / vocals
Fabio Gomez / bass
Cesar Almonacid / guitar
Carlos Alvarez / drums
RATING: 8.5 / 10
.
domingo, 4 de maio de 2014
*. Änglagård .*
Album: Prog på Svenska - Live in Japan (2014)(2Cd's)
Genre: Prog Rock (Jazz/Psych/Folk/Exp./Symphonic Prog) / Sweden
Prog på Svenska represents the first of three consecutive nights that the masters of dark Swedish prog delivered at Club Città in Japan alongside The Crimson ProjeKCt (featuring the legendary Adrian Belew and Tony Levin). For me personally this is a special album that transports me back to when I witnessed their unbelievable performance only three weeks later at Baja Prog. Among a plethora of canonized acts at the festival (such as Hackett, New Trolls, and Three Friends), Änglagård’s remarkable performance showed that they stand in no one’s shadow. While there’s nothing like being there in person, Prog på Svenska is about as good a live recording and performance as I’ve ever heard on disc. I certainly am jealous of the Japanese fans who got to see them three nights in a row last year. The live-set on this album shows a balanced representation of the old and the new, featuring two tracks from each studio release along with an unreleased intro track which I assume (and hope) will be on Änglagård’s next studio production. So that the anticipation doesn’t kill anyone, I’ll start right off with the new song: ”Introvertus Fugu Part 1.” Perhaps the first thing to know about this track is that it’s our first look into the composition of the new band featuring Linus Kåse and Erik Hammarström alongside Anna, Johan, and Tord. I can happily say that “Introvertus” shows a band that knows how to move forward without abandoning the distinctive identity that they are known for, a fact that strongly hints at a powerful album to come in the future. The opening moments of the song show the band increasingly incorporating elements of modern classical and atonal music through the delicately dark chord changes on the piano before constructing a wave of tension with ambient bass noise, a distinctive guitar motif, and a descending melody on flute playing against tuned percussion. As the ambient textures continue to swell, a big percussive crash shockingly interjects, setting the stage for an ominous swelling of Mellotron chords, resulting in an eerily delightful sound. The intensity continues to build with a drum roll on snare and cymbals that transition the piece into an aggressive angular instrumental attack featuring howling Minimoog modulation; enter a fiercely dark melody which is doubled or harmonized on most instruments before the band takes the listener into their signature dose of woodsy folkiness. Johan and Linus continue pounding in the rhythm section before the eerie central motif returns to bring “Introvertus” towards its close with the full force of Anna and Linus’ dueling woodwinds, one hanging on the melody while the other produces chaotic squeals before withering off the melody in a very unsettling (but cool) way. After kicking it off with an exciting intro the band takes us back 20 years with “Hostsejd.” The rich dynamics, especially the meticulously controlled Mellotron swells, really shine on this one while some small differences in instrumentation (such as the sax on the first main melody instead of flute) really keep the piece fresh and exciting. Although I was craving the intro on the follow up track, “Längtans Klocka,” the supreme level of interplay between all instruments that starts off the piece is fantastic. Furthermore, the guitar/Mellotron duet at about 6:30 that leads into a memorable theme is quite the highlight. Finally, the circus-y melody towards the end of the song somehow becomes even more diabolic in this slightly stripped down version as Tord’s demented waltzy riff serves as a perfect backdrop for the drunken saxes. Speaking of Tord, it certainly is nice to see him back in the band, and I must add that his guitar playing and sense of emotion is perfect for the band and has improved over the years. This is perhaps most clearly demonstrated on “Jordrök,” a quintessential song in Änglagård’s catalog. The reality of the matter is that despite the fact that the band was quite mature at the time of Hybris‘ release, their capacity to bring out all the nuances in pieces like this shows that they are musicians who have truly refined their craft over the years. “Jordrök” sounds more alive than ever; the Mellotron flute section in the middle, one of the band’s absolute trademark melodies, is to die for, and Linus’ superb use of phrasing and pacing in the piano intro certainly takes this classic piece up several notches. Moving deeper into the performance we see “Sorgmantel,” one of my personal favorites from Viljans Öga. The first thing I noticed about this particular performance is that the intro sounds much more raw due to differences in instrumentation, this version starting out with a guitar and bass call and response. While I absolutely adore the studio version, this new arrangement and performance was also wonderful and brought its own set of advantages to the table. First, the bass/guitar duet at the beginning really exposes the melody and shows you that its not just about fancy instrumentation, it’s a gorgeous melody through and through. Second, the band is not concerned in the least bit with rushing through the performance of this piece; the pacing is delicate, precise, and emotional with plenty of space for ritard and sway as the intro melody gets passed around from guitar to bass and flute and is then countered by the piano, making the fugue-nature of this piece even more evident. The playing is incredibly tight but busting with dynamic throughout as “Sorgmantel” takes its many twists and turns before working its way to a quiet ending; graceful… even breathtaking. To wrap up the night, Änglagård once again goes back to the early 90′s, this time with “Kung Bore” and “Sista Somrar.” Although the former leans more on the folky side of the band, as does much of their first album, the highlight of the piece actually ended up being the mysterious and ambient middle section where the band shows that they have mastered perhaps one of the most difficult aspects of music: playing quietly with vibrant emotion. Between the light swells of guitar, weird effects on bass, a steady organ pattern in the upper register, and a lightly beating drum, this section goes beyond merely doing justice to the original. Finally, the depth and emotion of “Sista Somrar’s” slow, dark intro is, quite frankly, deadly, and goes miles deeper than the original studio recording (which was in and of itself very impressive) as an ominous sax melody flanked by stormy percussion and effects guides us to the unleashing of an uncanny tron female solo voice that will haunt your nightmares for weeks to come. In my opinion, Prog på Svenska—Live in Japan is an essential live album that you don’t want to miss out on. Quite honestly, I am a person who rarely enjoys live albums because oftentimes the performances and production are either significantly worse than the studio recording, or the live version ends up being stripped down to the point where there’s just something missing, or the band simply doesn’t offer an experience which is significant enough to enjoy the live version deeply; in most cases you sort of ‘had to have been there’ to get what’s so great about it. Such is not the case with Änglagård’s latest live documentation. From the performances to the production and the differences in detail from the originals, Prog på Svenska is a stellar capturing of live art through and through. And of course, I might add that if you ever get the chance to see Änglagård perform, take the opportunity; if your significant other isn’t a prog fan, take them anyways. Änglagård’s extreme level of delicacy in phrasing and dynamic is a tough match to beat in progressive music and should hold up even in the face of the snootiest of music connoisseurs.
Review by "Matt Di Giordano" (http://progulator.com/).
RATING: 9.25 / 10 **FANTASTIC**
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Genre: Prog Rock (Jazz/Psych/Folk/Exp./Symphonic Prog) / Sweden
Prog på Svenska represents the first of three consecutive nights that the masters of dark Swedish prog delivered at Club Città in Japan alongside The Crimson ProjeKCt (featuring the legendary Adrian Belew and Tony Levin). For me personally this is a special album that transports me back to when I witnessed their unbelievable performance only three weeks later at Baja Prog. Among a plethora of canonized acts at the festival (such as Hackett, New Trolls, and Three Friends), Änglagård’s remarkable performance showed that they stand in no one’s shadow. While there’s nothing like being there in person, Prog på Svenska is about as good a live recording and performance as I’ve ever heard on disc. I certainly am jealous of the Japanese fans who got to see them three nights in a row last year. The live-set on this album shows a balanced representation of the old and the new, featuring two tracks from each studio release along with an unreleased intro track which I assume (and hope) will be on Änglagård’s next studio production. So that the anticipation doesn’t kill anyone, I’ll start right off with the new song: ”Introvertus Fugu Part 1.” Perhaps the first thing to know about this track is that it’s our first look into the composition of the new band featuring Linus Kåse and Erik Hammarström alongside Anna, Johan, and Tord. I can happily say that “Introvertus” shows a band that knows how to move forward without abandoning the distinctive identity that they are known for, a fact that strongly hints at a powerful album to come in the future. The opening moments of the song show the band increasingly incorporating elements of modern classical and atonal music through the delicately dark chord changes on the piano before constructing a wave of tension with ambient bass noise, a distinctive guitar motif, and a descending melody on flute playing against tuned percussion. As the ambient textures continue to swell, a big percussive crash shockingly interjects, setting the stage for an ominous swelling of Mellotron chords, resulting in an eerily delightful sound. The intensity continues to build with a drum roll on snare and cymbals that transition the piece into an aggressive angular instrumental attack featuring howling Minimoog modulation; enter a fiercely dark melody which is doubled or harmonized on most instruments before the band takes the listener into their signature dose of woodsy folkiness. Johan and Linus continue pounding in the rhythm section before the eerie central motif returns to bring “Introvertus” towards its close with the full force of Anna and Linus’ dueling woodwinds, one hanging on the melody while the other produces chaotic squeals before withering off the melody in a very unsettling (but cool) way. After kicking it off with an exciting intro the band takes us back 20 years with “Hostsejd.” The rich dynamics, especially the meticulously controlled Mellotron swells, really shine on this one while some small differences in instrumentation (such as the sax on the first main melody instead of flute) really keep the piece fresh and exciting. Although I was craving the intro on the follow up track, “Längtans Klocka,” the supreme level of interplay between all instruments that starts off the piece is fantastic. Furthermore, the guitar/Mellotron duet at about 6:30 that leads into a memorable theme is quite the highlight. Finally, the circus-y melody towards the end of the song somehow becomes even more diabolic in this slightly stripped down version as Tord’s demented waltzy riff serves as a perfect backdrop for the drunken saxes. Speaking of Tord, it certainly is nice to see him back in the band, and I must add that his guitar playing and sense of emotion is perfect for the band and has improved over the years. This is perhaps most clearly demonstrated on “Jordrök,” a quintessential song in Änglagård’s catalog. The reality of the matter is that despite the fact that the band was quite mature at the time of Hybris‘ release, their capacity to bring out all the nuances in pieces like this shows that they are musicians who have truly refined their craft over the years. “Jordrök” sounds more alive than ever; the Mellotron flute section in the middle, one of the band’s absolute trademark melodies, is to die for, and Linus’ superb use of phrasing and pacing in the piano intro certainly takes this classic piece up several notches. Moving deeper into the performance we see “Sorgmantel,” one of my personal favorites from Viljans Öga. The first thing I noticed about this particular performance is that the intro sounds much more raw due to differences in instrumentation, this version starting out with a guitar and bass call and response. While I absolutely adore the studio version, this new arrangement and performance was also wonderful and brought its own set of advantages to the table. First, the bass/guitar duet at the beginning really exposes the melody and shows you that its not just about fancy instrumentation, it’s a gorgeous melody through and through. Second, the band is not concerned in the least bit with rushing through the performance of this piece; the pacing is delicate, precise, and emotional with plenty of space for ritard and sway as the intro melody gets passed around from guitar to bass and flute and is then countered by the piano, making the fugue-nature of this piece even more evident. The playing is incredibly tight but busting with dynamic throughout as “Sorgmantel” takes its many twists and turns before working its way to a quiet ending; graceful… even breathtaking. To wrap up the night, Änglagård once again goes back to the early 90′s, this time with “Kung Bore” and “Sista Somrar.” Although the former leans more on the folky side of the band, as does much of their first album, the highlight of the piece actually ended up being the mysterious and ambient middle section where the band shows that they have mastered perhaps one of the most difficult aspects of music: playing quietly with vibrant emotion. Between the light swells of guitar, weird effects on bass, a steady organ pattern in the upper register, and a lightly beating drum, this section goes beyond merely doing justice to the original. Finally, the depth and emotion of “Sista Somrar’s” slow, dark intro is, quite frankly, deadly, and goes miles deeper than the original studio recording (which was in and of itself very impressive) as an ominous sax melody flanked by stormy percussion and effects guides us to the unleashing of an uncanny tron female solo voice that will haunt your nightmares for weeks to come. In my opinion, Prog på Svenska—Live in Japan is an essential live album that you don’t want to miss out on. Quite honestly, I am a person who rarely enjoys live albums because oftentimes the performances and production are either significantly worse than the studio recording, or the live version ends up being stripped down to the point where there’s just something missing, or the band simply doesn’t offer an experience which is significant enough to enjoy the live version deeply; in most cases you sort of ‘had to have been there’ to get what’s so great about it. Such is not the case with Änglagård’s latest live documentation. From the performances to the production and the differences in detail from the originals, Prog på Svenska is a stellar capturing of live art through and through. And of course, I might add that if you ever get the chance to see Änglagård perform, take the opportunity; if your significant other isn’t a prog fan, take them anyways. Änglagård’s extreme level of delicacy in phrasing and dynamic is a tough match to beat in progressive music and should hold up even in the face of the snootiest of music connoisseurs.
Review by "Matt Di Giordano" (http://progulator.com/).
RATING: 9.25 / 10 **FANTASTIC**
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*. Steve Hogarth & Richard Barbieri .*
Album: Arc Light (2013/2014)(Mini Album)
Genre: Prog Rock (Crossover Prog) / UK
New collaborative release from Steve Hogarth (Marillion) and Richard Barbieri (Porcupine Tree) A 5-track mini-album 'little brother' to the splendid Not The Weapon But The Hand, Arc Light features 4 new tracks and a new version of Intergalactic featuring Aziz Ibrahim (Stone Roses, Ian Brown) on guitar. Not The Weapon But The Hand was the 2012 debut album from the cult hero collaborative. It featured appearances from Danny Thompson on double bass, Chris Maitland (ex Porcupine Tree) on drums and Dave Gregory (XTC) on guitar, bass and string arrangement. Steve Hogarth is best known as the frontman of Marillion, the progressive rock legends that he joined in 1989, following spells in The Europeans and How We Live. In addition to the 12 albums Marillion have released in this time he has also recorded and toured as a solo artist, under the name 'h'. In recent years Richard Barbieri has been a core member of Porcupine Tree playing keyboards on all the band's albums since 1993 as well as releasing two solo albums, Things Buried and Stranger Inside. Prior to this, it was in the new-wave pioneers Japan that he originally came to prominence, helping to create the ground-breaking synthesiser sound that defined the band and influenced the likes of The Human League, Duran Duran, Gary Numan, Talk Talk and a whole raft of artists to follow. (Amazon)
Songs / Tracks Listing
01. Arc Light (5:01)
02. Intergalactic (Arc Light Version) (6:26)
03. Daddy Does Work (5:06)
04. Oil (5:21)
05. Elaine (6:47)
RATING: 7.5 / 10
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Genre: Prog Rock (Crossover Prog) / UK
New collaborative release from Steve Hogarth (Marillion) and Richard Barbieri (Porcupine Tree) A 5-track mini-album 'little brother' to the splendid Not The Weapon But The Hand, Arc Light features 4 new tracks and a new version of Intergalactic featuring Aziz Ibrahim (Stone Roses, Ian Brown) on guitar. Not The Weapon But The Hand was the 2012 debut album from the cult hero collaborative. It featured appearances from Danny Thompson on double bass, Chris Maitland (ex Porcupine Tree) on drums and Dave Gregory (XTC) on guitar, bass and string arrangement. Steve Hogarth is best known as the frontman of Marillion, the progressive rock legends that he joined in 1989, following spells in The Europeans and How We Live. In addition to the 12 albums Marillion have released in this time he has also recorded and toured as a solo artist, under the name 'h'. In recent years Richard Barbieri has been a core member of Porcupine Tree playing keyboards on all the band's albums since 1993 as well as releasing two solo albums, Things Buried and Stranger Inside. Prior to this, it was in the new-wave pioneers Japan that he originally came to prominence, helping to create the ground-breaking synthesiser sound that defined the band and influenced the likes of The Human League, Duran Duran, Gary Numan, Talk Talk and a whole raft of artists to follow. (Amazon)
Songs / Tracks Listing
01. Arc Light (5:01)
02. Intergalactic (Arc Light Version) (6:26)
03. Daddy Does Work (5:06)
04. Oil (5:21)
05. Elaine (6:47)
RATING: 7.5 / 10
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*. Sylvan .* (Reissue + Bonus CD)
Album: Deliverance (1998)(Reissue 2010 + Bonus CD)
Genre: Prog Rock (Crossover/Neo Prog) / Germany
The seeds for SYLVAN's formation were set in 1991 in Hamburg,when three friends decided to form their own rock band. In 1995 they were named SYLVAN after the addition of vocalist Marco Glühmann. They released their junior album ''Deliverance'' in 1999,paying a tribute to all the bands,who have influenced them. ''Deliverance'' is an excellent 50/50 mix between neo progressive and symphonic rock,featuring dramatic,expressive vocal lines,superb keyboard work and somewhat heavy electric guitars. Most of the songs are clocking close to 10 min. or longer,so the band can fully develop their ideas. The trully great solos are followed by long synth-led atmospheric breaks and sensitive vocal parts,sung in English. SYLVAN actually managed to create a very personal sound- a unique MARILLION (both eras),PINK FLOYD and GENESIS hybrid - with rich and well-crafted musicianship and for that reason they desrve your attention and congratulations. A highly recommended release! Review by "apps79" (Prog Archives).
RATING: 8.25 / 10
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Genre: Prog Rock (Crossover/Neo Prog) / Germany
The seeds for SYLVAN's formation were set in 1991 in Hamburg,when three friends decided to form their own rock band. In 1995 they were named SYLVAN after the addition of vocalist Marco Glühmann. They released their junior album ''Deliverance'' in 1999,paying a tribute to all the bands,who have influenced them. ''Deliverance'' is an excellent 50/50 mix between neo progressive and symphonic rock,featuring dramatic,expressive vocal lines,superb keyboard work and somewhat heavy electric guitars. Most of the songs are clocking close to 10 min. or longer,so the band can fully develop their ideas. The trully great solos are followed by long synth-led atmospheric breaks and sensitive vocal parts,sung in English. SYLVAN actually managed to create a very personal sound- a unique MARILLION (both eras),PINK FLOYD and GENESIS hybrid - with rich and well-crafted musicianship and for that reason they desrve your attention and congratulations. A highly recommended release! Review by "apps79" (Prog Archives).
RATING: 8.25 / 10
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*. Lapis Lazuli .*
Album: Alien/Abra Cadaver (2014)
Genre: Prog Rock (Fusion/Funk/Canterbury/Psych) / UK
Lapis Lazuli is a multi-genre fusion band from Canterbury combining Funk, Progressive, Psychedelic, Fusion, Rock, Latin, Balkan and Afrobeat styles.
Songs / Tracks Listing
01. Alien Part I
02. Alien Part II
03. Alien Part III
04. Alien Part IV
05. Alien Part V
06. Abra Cadaver
Line-up / Musicians
Adam Brodigan, Toby Allen, Dave Brittan, Dan Lander, Neil Sullivan, Phil Holmes
RATING: ??????????????
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Genre: Prog Rock (Fusion/Funk/Canterbury/Psych) / UK
Lapis Lazuli is a multi-genre fusion band from Canterbury combining Funk, Progressive, Psychedelic, Fusion, Rock, Latin, Balkan and Afrobeat styles.
Songs / Tracks Listing
01. Alien Part I
02. Alien Part II
03. Alien Part III
04. Alien Part IV
05. Alien Part V
06. Abra Cadaver
Line-up / Musicians
Adam Brodigan, Toby Allen, Dave Brittan, Dan Lander, Neil Sullivan, Phil Holmes
RATING: ??????????????
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sábado, 3 de maio de 2014
*. Echolyn .* (Remaster)
I have the remastered version and I do like the album cover better on this one too. When I first heard about this band several years ago I purchased "The End Is Beautiful" , "As The World" and "MEI" all around the same time. I figured I had a good cross section with these three albums. I started with "As The World" and soon found myself wondering why this band is so popular in the Prog world. It was just a difficult listen for me. Within a month I thought i'd move on to their latest thinking it was probably different, and it was and I loved it. I decided to hold off on "MEI" for fear it sounded like "As The World". In the meantime I became friends with Todd (the RPI guy) who had as his avatar "Cowboy Poems Free" and a five star review of that album. I noticed on other sites that this album wasn't held in as high esteem as "Suffocating The Bloom", "MEI" or "As The World" but knowing that Todd and I have very similar tastes in music I bought it and "Suffocating The Bloom". I reviewed the latter recently and thought it was incredible. "Cowboy Poems Free" is even better.Thanks Todd ! Interesting that the band had a hiatus after "As The World" as they all went off doing their thing in other bands.They returned for this one and promptly made a more accessible, song oriented album.This is powerful but the lyrics are even more powerful. Check out Epignosis' review as he explains really well the theme of this recording. This album just blows me away. It could not be more perfect. "Texas Dust" opens with percussion before a full sound kicks in quickly. It's uptempo. A calm with vocals a minute in.This is moving stuff. The chorus is gorgeous. It picks up after 4 minutes with some excellent guitar.This is a top three for me. "Poem #1" is a short atmospheric piece. "Human Lottery" kicks in with guitar. Drums before it settles with vocals. It's full again as contrasts continue. Some killer bass and guitar at times. "Gray Flannel Suits" has a catchy beat with vocals. I like when they slow it down before 2 minutes and after 3 minutes. It turns powerful before 4 minutes. Nice. "Poem #2" is another soundscape piece. "High As Pride" features reserved vocals and piano to start as strummed guitar joins in. Drums and organ around 3 minutes.This song seems to get better as it plays out. "American Vacation" has this uptempo instrumental intro which impresses before vocals arrive around a minute. Spoken words before 3 1/2 minutes and a heavier sound follows. "Swingin' The Axe" is a passionate track and it's pretty heavy too. "1729 Broadway" is another top three for me. Spacey sounds echo as a beat comes in. Vocals follow. Organ before 1 1/2 minutes. A moving track. Guitar 3 minutes in is great then he rips it up after 5 minutes for good measure. It blends into "Poem #3" another mellow piece. "67 Degrees" is the last top three song. Love the keyboard sounds to open. Drums then vocals come in. How good does this sound ! Those keys are back late to end it. Great track. Vocals arrive a minute in on "Brittany". This is such a feel good tune for me. It's right there with the top three. It gets fairly powerful at times. It's a blast. "Poem #4" has these loud percussion sounds and vocals.Cool. "Too Late For Everything" ends it in style. A relaxing but dark and meaningful song. There are so many lines i'd like to quote from songs here. Just brilliant lyrics. Such a talented band. I see the light. Review by "Mellotron Storm" (Prog Archives).
RATING: 8.25 / 10
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RATING: 8.25 / 10
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