FM are one of UK's most enduring and most loved melodic rock / AOR act. They have released eleven albums to date.
In the U.S., they are often referred to as FMUK as there exicsts a progressive rock band from Canada with the same name.
On September 8th, the band are celebrating the 25th Anniversary of the release of their classic 1986 debut album "Indiscreet".
In conjunction with great reissue label Rock Candy they've assembled a Deluxe 2 CD set containing no less than 18 bonus tracks.
We have the original album plus rare BBC sessions and a live track on one CD, while the extra disc includes rarities such as singles b-sides, extended 12'' remix versions, live tracks and for the first time on CD, the rare instrumental version of "American Girls" (only appeared on a mega rare maxi-single vinyl back in 1986) special to demonstrate your skill at the mic!
This 24-bit remastering from the original source tapes sounds excellent, and these songs - needless to say - are absolutely gorgeous pure golden AOR Melodic Rock classics. A Must Have!
FM was formed in the summer of 1984 in London.
The band was originally composed of the ex-Samson pair of bassist Merv Goldsworthy and drummer Pete Jupp, the Overland brothers – vocalist/guitarist Steve and lead guitarist Chris Overland, both formerly of Wildlife, and keyboardist Philip Manchester, also known as Didge Digital.
They are currently writing and recording for their follow-up album to 2010's "Metropolis", due for release in 2012.
Stolen Earth are a powerhouse of atmospheric rock.
With songs soaked in emotion, their immense sound draws from a huge musical palate. Featuring the inimitable Heidi Widdop (ex-Mostly Autumn) on lead vocals, they perform songs with rich, textured harmonies and infectious hooks and melodies.
With Barry Cassells' powerful drums and Paul Teasdale's driving bass guitar making up the dynamic rhythm section, John Sykes' keyboards provide huge soundscapes with superb precision, while Adam Dawson's soaring guitar work fuses a heady blend of emotion and musicality. In total, Stolen Earth's live show is one of majestic power, with catchy choruses and captivating melodies which will stay with you long after the show is over.
Stolen Earth formed early in 2011 from the ashes of the much-loved progressive rock band "Breathing Space", who had split at the beginning of the year. They include no fewer than four members of Breathing Space’s short-lived final incarnation, including recently joined vocalist Heidi Widdop and guitarist Adam Dawson. Only the rock-solid rhythm section of Paul Teasdale and Barry Cassells remain from the linuep of Breathing Space’s final albums.
Stolen Earth's debut album “A Far Cry From Home” is out now.
The song writing is consistently strong, and the material has a wonderfully relaxed 'flow' to it with Dawson's intelligent guitar work, while not aping Rothery or Gilmour, letting the space between the notes add to the overall ambience.
And there's a great cohesiveness about the work with keyboard player John Sykes providing light and shade in an almost Rick Wright manner.
The result is that each and every one of the nine epic tracks on "A Far Cry From Home" is a winner and it's impossible to pick a stand out.
Thirty years after its eponymous self titled debut album, Asia
will release their new studio album “XXX” (pronounced Triple X) via Frontiers Records, on July 2nd 2012.
The new album, produced by Mike Paxman,
has been hailed as Asia’s best album since its classic early 80s
releases.
The legendary British classic
rock band returns with a new studio album, a 30th Anniversary edition
of their debut album, 2 DVDs, and a world tour that includes UK,
Europe, Japan and America.
In addition Asia has also completed “Resonance”, a DVD concert film
of the group’s 2010/2011 Omega World Tour, captured live in Switzerland
which will be released subsequently.
To celebrate their 30th Anniversary, Asia will release a collector’s
edition box set based on their legendary 1982 eponymous debut album,
supported by a myriad of Asia releases in 2012.
The 30th anniversary edition of their debut album will feature two CD's (a re-mastered edition of the debut album, plus a CD of live
rare tracks), an expansive historical booklet, a limited edition ASIA
T-shirt, goodies from Asia’s 1982 tour, plus a DVD of the new band
documentary: "Asia - 30 Years On".
A newly
commissioned painting by Roger Dean updates the symbolic dragon and
pearl from 1982 to 2012, the Year of The Water Dragon (in the Chinese
calendar).
Iconic Tonic, formed in 2010 by long -time friends Dave Spencer, Chad
Eric, and Tony Hawes.
After each spent time in other projects that
achieved both regional and national recognition, they decided it was
time to fuel their creative energy towards an uncompromising and
wickedly satisfying rock n’ roll band.
Once together, the song ideas began to flow, and they immediately began
rehearsing and recording.
These guys give nothing less than 110%; a rock
band with passion, drive, and one that has no creative barriers.
Iconic Tonic’s debut album "Rock And Roll" is produced by Seattle’s renowned mix
engineer/producer Deron Daum and mastered by Dave Donnelly (Whitesnake,
Kiss, Bret Michaels Band, Journey).
For Iconic Tonic, with supporters such as Joeker Guitars, Hofner Basses,
Hot Picks USA, Dean Markley Strings, Walden guitars, Saluda cymbals,
Mapex Drums, and Custom Stix, it‘s full steam ahead and they are ready
for the ride...
The band was formed by four architect students in 2005.
There were
several changes in the lineup such as an expansion to six members. Their
music differs from the usual by the dominant role of the keyboard and
the cello besides the vocals sung in Hungarian which highlight them in the
post-rock scene.
2008's Csend Utca EP represented a direction more
likely towards popular alternative rock.
The turning point was the
White Noise single in 2009, their first step on a new path that is being
followed since then with continuously growing success.
Their
debut album entitled Mit Nekem released in November 2009
with support won on the PANKKK tendering organized by the Hungarian
Ministry of National Resources. Studio recording and mastering took
place at Altrecords and Bakery studios.
During and after the recording several
gigs were held in Hungary and in Austria.
In 2010 the band played in
Vienna twice accompanying the Austrian Our Ceasing Voice and the French
Bye Horus. In Hungary they played with Russian Circles, or Anneke van
Giersbergen from Netherlands, Jeniferever from Sweden, Zeni Geva from
Japan, Constants from the US, Heirs from Australia, Our Ceasing Voice,
Bye Horus and to list some Hungarians: Turbo, marionette ID and
pozvakowski.
Their new album entitled Hélium was released on the 10th of April, 2012.
Carina Round is a British singer/songwriter.
She has carved a singular path in music with her inimitable voice and stirringly varied compositions. Her uncompromising vision and thrilling versatility has garnered an immensely passionate fan base including a myriad of highly regarded musicians.
Her new album Tigermending comes from a painting by Amy Cutler where three women sit in a field dutifully stitching the bellies of a heap of helpless Tigers. Carina recounts, “The first time I saw the painting I stared at it for a long time not understanding why. The absurd image absorbed me.There was an innocent simplicity to it. The gentle putting back together of something most ferocious and wild mysteriously damaged to the point of submission. I felt an affinity to it.”
The new album was released May 1, 2012. Produced with Grammy nominated writer Dan Burns, Carina collaborated with some notable champions including the legendary Dave Stewart, Brian Eno, and Smashing Pumpkins’ front man Billy Corgan.
She released The Last Time single featuring Sierra Swan along with a Puscifer remix of ‘Girl and The Ghost' on Limited Edition 7” Vinyl at the end of last year.
Discography:
2001 - The First Blood Mystery
2003 - The Disconnection
2004 - Into My Blood (Single)
2004 - Lacuna (EP)
2007 - Slow Motion Addict
2009 - Things You Should Know (EP)
2011 - The First Blood Mystery (10 Year Anniversary Edition)
(I do swear that I'll always be there. I'd give anything and everything and I will always care. Through weakness and strength, happiness and sorrow, for better, for worse,
I will love you with every beat of my heart.)
From this moment life has begun
From this moment you are the one
Right beside you is where I belong
From this moment on
From this moment I have been blessed
I live only for your happiness
And for your love I'd give my last breath
From this moment on
I give my hand to you with all my heart
Can't wait to live my life with you, can't wait to start
You and I will never be apart
My dreams came true because of you
From this moment as long as I live
I will love you, I promise you this
There is nothing I wouldn't give
From this moment on
You're the reason I believe in love
And you're the answer to my prayers from up above
All we need is just the two of us
My dreams came true because of you
From this moment as long as I live
I will love you, I promise you this
There is nothing I wouldn't give
From this moment
I will love you as long as I live
From this moment on
In The Labyrinth is an experimental musical project based in Stockholm, Sweden, and is led by Peter Lindahl.
The main concern is to mix a wide array of styles to create a symbiosis quite unlike most music heard of today.
You could define it as progressive rock with a strong ethnical element or almost like an early Pink Floyd adorned with both classical and oriental overtones.
Three CD's and a compilation album have been released so far.
The texture of these is mostly mysterious and melancholy, often broadened by rich arrangements that feature diverse instrumentation and sometimes vocals. There is an emphasis put on beauty but also on the haunting and the desolate.
In Stockholm back in 1980, Aladdin’s Lantern was formed by Peter Lindahl, Mikael Gejel and Ulf Hansson.
Over the next decade, various musicians came and left. One was Karin Langhard-Gejel, another one was Stefan Andersson.
The style in which they played was mainly Middle Eastern, their playlist featuring both traditional numbers and material put together by some of the members themselves.
The performances of Aladdin‘s Lantern included all sorts of assignments like backing up “belly dancers” and playing at clubs and festivals.
By the entry of the nineties, they had switched from being a part time live act to becoming a band more or less confined to the studio environment. Around ’93 the name Aladdin’s Lantern was swapped for Labyrinth and in ’94 to In The Labyrinth, which was essentially a way to avoid the risk of being confused with the heavy rock band Labyrinth.
Nach 6 Jahren kehrt die Schweizer Artrock Band Cosmos
mit 10 neuen Kompositionen voller Energie und Emotionen zurück. Ihren
Wurzeln treu geblieben, spielen Cosmos nach wie vor eine melodiöse
Variante des anspruchsvollen Rocks. Der Einfluss von Pink Floyd ist
immer noch präsent aber die Band hat sich stetig weiterentwickelt und
mittlerweile eine eigene Identität zugelegt.
Mit der dritten Studio CD
"Mind Games" ist Cosmos ein sehr persönliches Werk gelungen.
Vor allem
der Song Contact beschreibt eindrücklich die tragischen Ereignisse um
die Nahtod- Erfahrungen von Drummer Reto. Lost Years hingegen erzählt
die traurige Geschichte von Dwayne Dail, der jahrelang unschuldig im
Gefängnis saß. Close To The Edge ist eine Auftragskomposition des US-Labels Cypher Arts. Vorgesehen war dieser Song für ein CD
Set zum Thema Piraten. Leider wurde diese Idee durch das Label nie
verwirklicht. Ein weiterer impulsiver Song ist Sequences, der vor allem
Live für Furore sorgen dürfte. Diesen Song haben Cosmos bereits seit
einigen Jahren im Set und nun erstmals auf Tonträger veröffentlicht –
ein Meisterstück. Auf Mind Games ist auch die neue, fantastische
Sängerin Mirjam Heggendorn zu hören. Mirjam ersetzt die langjährige
Sängerin Silvia Thierstein, die sich vermehrt ihren Mutterpflichten
widmen will.
Mœbius Cat is about journey... Journey in space and time. It’s about
people and souls, angels and demons, light and darkness, material and
ethereal, mundane distractions and parallel dimensions. It’s about
looking into oneself and searching not for the answers, for it is a
quest of a lifetime, but for the right questions. Let us begin a journey
that will take you far away from commercial music dogma.
Mœbius Cat is a fluid and dynamic project, creating melodic and emotional music in a fusion of dark wave, progressive rock, experimental, world fusion, gothic ethereal, electronic and neoclassical styles.
Mœbius Cat is a Canadian band with a CD release on the Russian label
"Mals". The band is based around multi-instrumentalist Roman Bershadsky,
who is playing drums, keys, percussion, djembe and wrote all the music
and lyrics of the latest album ‘End Of Time’.
Vocally he is assisted by an
excellent female singer called Jodi Krangle on several songs, but also
male singers Karl Mohr and Adriano Spina appear on a few songs each. I
have to say that the female singer Jodi makes a real impression on me
personally with her amazing vocal style. It’s a major let-down she
didn’t sing all the songs and also when checking the internet she is
only doing voice-over jobs. This singer should be out there making music
on her own, with such excellent vocals she could easily gain a lot of
attention!
Anyway, Mœbius Cat is a sort of Progrock thing, very calm
and laid-back most of the time, with some dark wave touches as well.
Porcupine Tree comes to mind here and there and especially the
titletrack and “It’s over” are 2 really beautiful songs that even remind
a bit of Mostly Autumn, Renaissance and Karnataka, while vocally it has
a touch of a Kate Bush.
In 2003 Mœbius Cat has also released an album containing original songs in mystic and ethereal mood, with elements of world fusion, progressive and electronic music, which is entitled "Arrivals-Departures".
Both albums are FREE to download from their homepage!
Isgaard Marke ist eine klassisch ausgebildete deutsche Sängerin, die in ihrer Musik Klassik und Pop verbindet.
Gut vier Jahre sind ins Land gegangen, seit die
deutsche Sängerin Isgaard ihr letztes Album „Wooden Houses“
veröffentlichte. In der Zwischenzeit ist sie aber keineswegs untätig
gewesen, hat sie doch zusammen mit dem Elektronikduo Rainbow Serpent das
wunderbare Album „Stranger“ und mit dem in England lebenden Curfew das
tolle Album „The Trip“ unter dem Namen CMI (Curfew Meets Isgaard)
herausgebracht.
In 2012 ist es aber mal wieder an
der Zeit, Solopfade zu beschreiten und so hat sie zusammen mit Jens Lück
(er ist unter anderem Musikproduzent und hat alle Alben der deutschen
Artrockband Sylvan produziert und gemixt) ihr mittlerweile viertes
Soloalbum mit dem Titel „Playing God“ eingespielt.
Das Album ist getragen von ihrer Engelsgleichen Stimme,
die auch ihr Markenzeichen ist.
Neben Jens Lück (Schlagzeug, Perkussion, Keyboards, FX-Gitarre und
Backgroundgesang) wirken der von der Band Sylvan bekannte Gitarrist Jan
Petersen (E- und Akustikgitarre), Katja Flintsch (Violine, Viola),
Annika Stolze (Violinencello), Volker Kuinke (Flöte, Bass Recorder, Alto
Recorder) und Joachim Schlüter (Slidegitarre) mit.
Das Album, das größtenteils zwischen Oktober 2011 und Januar 2012 aufgenommen wurde, heißt „Playing God“ und bietet 11 Songs, die wie musikalische Geschichten sind; Geschichten, die mal plakativ, mal leise und voller Zartheit sind und bei denen es immer wieder Dinge „zwischen den Zeilen“ zu entdecken gibt. Einige Songs sind deutlich intimer als viele Songs des Vorgängeralbums und Isgaards Gesang klingt zerbrechlich, fast verletzlich und direkt, flüstert dem Hörer ins Ohr.
Die Songs stammen alle aus der Feder von Jens Lück und Isgaard. Sie
weisen eine melancholische und unter die Haut gehende Note auf. So
beginnt die CD gleich mit dem Stück „Northern Lights“, das wie ein Intro
ins Album weist, mit Streichern zu denen dann Isgaard’s Gesang
einsetzt, was sehr orchestral und erhaben klingt. So stelle ich mir auch
einen Soundtrack vor. Dann folgt der nicht minder intensive Titeltrack,
bei dem Isgaard eine wundervolle Melodie singt, die sich im Hirn
festsaugt. Diese sanfte Midtemponummer lässt Ruhe beim Hörer aufkommen
und versetzt ihn in eine wohlige Stimmung. Sehr schön ist auch das lang
gezogene Gitarrenmotiv, das Jan im Hintergrund spielt.
Mit Piano und Geige startet die zarte und verträumte Nummer
„Failing“, bei der Isgaard so unglaublich zerbrechlich klingt. Durch
diese Art zu singen schiebt sich das Lied und ihre Stimme direkt unter
die Haut. Mit einem Knistern, so wie bei einer Vinylschallplatte und
einem Sound wie bei einer Spieluhr, beginnt dann die Downtemponummer
„Golden Dust“, bei der sowohl der sehr akzentuierte Bass, wie auch die
Gitarren und die fast weinerlich klingende Geige die markanten Punkte
setzen.
„Teardrops“ setzt sich ein wenig von den Stücken ab, da es einen
tollen Rhythmus aufweist und darüber hinaus durch die Art des
Gitarrenspiels Bond-Flair versprüht. Stilistisch würde ich diesen Song
zwischen Bond-Song und Peter Gabriel einordnen. Isgaard schafft es auf
dem Album den Hörer durch ihre intensive und eindringlich/zerbrechliche
Art zu fesseln. Die wunderbaren Melodien tun ihr Übriges.
Isgaard ist mit „Playing Gods“ ein sehr guter Nachfolger ihres
2008’er Werkes „Wooden Houses“ gelungen, dessen Songs unter die Haut
gehen. Sehr verträumt, romantisch, intensiv aber auch zerbrechlich
wirken die einzelnen Stücke, in denen Isgaard ihre Geschichten erzählt.
Ein wunderbares Werk, das ich sehr empfehlen kann.
Cryptic Vision is a progressive rock band from Sarasota Florida. They just released their fourth album "Of Infinite
Possibilities".
The
band was formed in 2003 by multi-instrumentalist Rick Duncan
and vocalist Todd Plant.
Rick had produced several albums for local and
national artists and Todd had fronted the bands Eyewitness and
Millennium as well as working with former Doobie Brothers and Chicago
members.
Their first album started primarily as a recording
project with Todd, Rick and keyboardist Robert Van Dyne. It featured
several guest musicians such as Kansas violinist David Ragsdale,
guitarist Ralph Santola (Iced Earth, Sebastian Bach) and
keyboardist Howard Helm (Ian Hunter, Zon, Refuge). In 2004 the band
signed with Progrock Records and released their first album "Moments of
Clarity". In 2005 CV became a live act adding bass player/vocalist Sam
Conable, guitarist/vocalist Tim Keese and keyboardist John Zahner. They
started the year opening for Kansas and in May they performed at the
Rites of Spring festival in Phoenixville PA. The performance was
recorded and became their second release "Live at ROSFest 2005". In 2006
Cryptic Vision returned to the studio and started work on their third
album "In A World". Due to schedule conflicts John Zahner who was also
recording and touring with Jon Oliva's 'Pain' was not available. Howard
Helm was brought in to track keyboards and stayed on as a permanent
member. The album was recorded more as a band project but also featured
special guests David Ragsdale, Ralph Santola and Spock's Beard guitarist
Al Morse.
After a 5 year hiatus, Cryptic Vision releases "Of Infinite
Possibilities".
This CD is part 3 of their trilogy "Moments Of Clarity
In A World Of Infinite Possibilities" and is their most ambitious album
yet. From the opening 5/4 riff of Singularity to the bombastic ending of
the title track, Cryptic Vision takes the listener through a
progressive journey of the world we live in. From the scientific to the
spiritual, from our inner soul to the outer Universe, the album explores
the meaning of our existence. Each song represents a different
perspective of how we try to make sense of our world and what lies
beyond. Musically this album covers all the bases, lots of odd time
signatures, rich chord progressions, intricate rhythms, melodic hooks,
powerful vocals and stunning solos.
The bulk of the album was performed by
Rick Duncan, Todd Plant, Sam Conable, Tim Keese and Howard Helm but
also feature guest musicians David Ragsdale (Kansas), Gary Schutt, John
Zahner, Shawn Bowen, John Leblanc, Mike Carello and Carrie Preston.
Tony Banks has already written a much admired orchestral work called "Seven: A Suite for Orchestra", which was praised for its ‘genuine melodic gift’.
His new work "Six Pieces For Orchestra" consists of six songs without words which may evoke in
the listener ideas of seduction, journey, hero, quest, decision and
goal. Two of the pieces feature solo instruments – alto saxophone on Siren and violin on Blade –
played here by elite soloists, which mesh into Banks’s orchestral
tapestry with bewitching effect. The remaining pieces reveal his
outstanding lyrical gifts and total command of musical narrative.
Tony Banks is a founding member of Genesis along with Mike
Rutherford, Peter Gabriel and Anthony Phillips and, after a few
incarnations, the band evolved further with the introduction of Phil
Collins, and with Steve Hackett who replaced Phillips.
Genesis became
one of the major exponents of progressive rock music in the early
seventies, and after Peter Gabriel left the band in 1975, they went on
to become one of the most commercially successful bands of the 1980s
and 1990s with albums such as Duke and We Can’t Dance.
Tony Banks has pioneered many unique keyboard and synthesiser sounds
throughout his career. Music historian Wayne Studer referred to him as
“the most tasteful keyboardist of prog rock”.
Tony Banks composed the soundtrack for The Shout (1978) (with Mike Rutherford), starring Alan Bates, Lorca and the Outlaws (1984), and Quicksilver (1986), starring Kevin Bacon. The music from these two latter films ended up on an album entitled Soundtracks (1986). When Michael Winner invited Tony Banks to write the score for his film The Wicked Lady (1983),
starring Faye Dunaway, it gave him the opportunity to work with an
orchestra, which he had not experienced before. In 2004, as a result of
that experience, Tony Banks was inspired to record his first
orchestral album Seven: A Suite for Orchestra with the London Philharmonic Orchestra.
The Music of French band Children In Paradise is inspired by atmospheric progressiv rock, celtic music and there are also some jazz influences.
With their debut album "Esyllt" (means Isolde) they invite you to travel between myths, dreams and reality.
A fragile balance between light and tear, the melodies and rhythms to take you on a pervasive melancholy and authenticity that make the charm. Guitars and traditional Celtic instruments harp, uilleann pipes and low whistle, combine with a soft female voice of Dam Kat, mystical and gently lead you towards the path of the "Other World".
Overall this is a remarkable debut album. The entire album is filled with soul–living, breathing music that will reach your innermost being. There are moments of pure prog bliss in these songs.
Silence was created in 1996 by French guitarist / keyboardist Bruno Levesque.
In 1997, Bruno recorded the first Silence album called "The Fifth Season", an instrumental album only released in CD-R format.
In 2000, Bruno recorded another instrumental album called "Trouble In Paradise". The good reactions of people encouraged him to carry on with the Silence experience, in the company of a singer. The meeting with the Jerome Cazard's voice took place in early 2001 and two albums were released : "Utopia" (2002), and "Nostalgia" (2005). A new chapter opened in 2008 with the arrival of new singer Ben Venet from the belgian band Jayhawkers.
The first result of this new collaboration was the album "Open Road", released in 2008.
Early 2012, the duet is proud to announce the release of their brand new albums "City (Days)" and "City (Nights)".
This will be the labels first time is releasing two CDs at once by the same artist. Perris Records president Tom Mathers was very excited to hear enough great music from one artist to accomplish this.
I am completely in love with both new albums by Silence, one of the most organic, sweet, harmonic, pure melodic rock collection of songs appeared in many, many years.
With these albums, Silence has marked a clear difference with rest of bands in this genre: Emotion!
All the songs on both CD's will lodge in you blue collar melodic rock heart, meticulously arranged and handmade produced with love.
Great songs, great musical melodies, great vocal harmonies: all are here.
Schau mich an - bleib einfach stehn
Komm nimm meine Hand die dich schon lang nicht mehr erreicht
Ist denn alles was du lebst nicht mehr was du fühlst
Schau mich an - kannst du mich sehn
Siehst du nicht das meine Augen dir schon längst nichts mehr erzählen
Ist denn alles was du lebst nicht mehr was du fühlst
Kennst du die Lügen nicht für meine heile Welt
Suchst du die Wahrheit nicht die mich hier am Leben hält
Spürst du die Leere nicht in meinem kalten Paradies
Kennst du die Lüge nicht an der mein Herz zerbricht
Schau mich an - kannst du verstehen
Fragst du nicht warum ich immer noch an jeden Morgen glauben kann
Komm schau mich an - du mußt es sehn
Ahnst du nicht daß tief in mir die letzte Hoffnung langsam stirbt
Ist denn alles was du lebst nicht mehr was du fühlst
Kennst du die Lügen nicht für meine heile Welt
Suchst du die Wahrheit nicht die mich hier am Leben hält
Spürst du die Leere nicht in meinem kalten Paradies
Kennst du die Lüge nicht an der mein Herz zerbricht
Kennst du die Lügen nicht - für dich
Kennst du die Träume nicht - für mich
Ist denn alles was du lebst wirklich nur das was du fühlst
für mich - für dich
Kennst du die Lügen nicht für meine heile Welt
Suchst du die Wahrheit nicht die mich hier am Leben hält
Spürst du die Leere nicht in meinem kalten Paradies
Kennst du die Lüge nicht an der mein Herz zerbricht
An der mein Herz - zerbricht
Spürst du die Leere nicht in meinem kalten Paradies
Kennst du die Lüge nicht an der mein Herz zerbricht
Kennst du die Lüge nicht an der mein Herz zerbricht
“Stories Come out of other stories Lead to other stories New memories of machines”
Nichts weniger als eine neue "Supergroup" des Artrock:
Als ob Tim Bowness (No-Man) und Giancarlo Erra (Nosound) nicht genug wären, haben sich die beiden Unterstützung von keinen Geringeren als Peter Hammill (Gitarre; Van Der Graaf Generator), Colin Edwin (Kontrabass; Porcupine Tree), Robert Fripp ("Soundscapes"; King Crimson), Steven Wilson (Gitarre, Keyboards; Porcupine Tree, No-Man etc.), Julianne Regan (Gesang; All About Eve), Jim Matheos (Gitarre; Fates Warning, OSI), Marianne de Chastelaine (Cello; u.a. Heather Nova) und Ricard Huxflux Nettermalm (Schlagzeug; Paatos) geholt.
Mit ihrer Hilfe ist eines jener kostbaren Alben entstanden, an die man sich noch viele Winter später gerne erinnern wird.
Das Meisterwerk "Warm Winter" wurde von Steven Wilson auch gemixt.
Das Mastering stammt von Jon Astley (The Who, Led Zeppelin, Tori Amos).
Der Sound ist kristallin, das Material anbetungswürdig.
Auf "Before We Fall" erinnert Mrs. Regan an die große Clare Torry, das warme Cello verzaubert "Beautiful Songs You Should Know" und das Gitarrensolo des Titelstücks beweist, dass man auch auf getragene, ruhige Musik wegfliegen kann. Über all dem schwebt Tim Bowness zarte, streichelnde Stimme.
"Warm Winter" ist für Prog und Artrock Fans das, was es für Hardrocker bedeuten würde, hätten Deep Purple, Rainbow und Whitesnake gemeinsam ein starkes Album aufgenommen.
Now, don't just walk away
Pretending everything's ok
And you don't care about me
And I know there's just no use
When all your lies become your truths and I don't care... yeah, yeah, yeah
Could you look me in the eye
And tell me that you're happy now, ohhh, ohhh
Would you tell it to my face or have I been erased,
Are you happy now?
Are you happy now?
You took all there was to take,
And left me with an empty plate
And you don't care about it, yeah.
And I am givin' up this game
I'm leaving you with all the blame cause I don't care, yeah, yeah yeah,
Could you look me in the eye?
And tell me that you're happy now, oohh oohhh
Would you tell it to my face or have I been erased,
Are you happy now? Ohhh, ohhhh
Are you happy now?
Are you happy now? yeah, yeah, yeah.
Do you really have everything you want?
You can't ever give somethin' you ain't got
You can't run away from yourself
Could you look me in the eye?
And tell me that you're happy now, yeah, yeah
Come on, tell it to my face or have i been replaced,
Are you happy now? Ohhh, ohhhh
Are you happy now?
Would you look me in the eye?
Could you look me in the eye?
I've had all that I can take
I'm not about to break
Cause I'm happy now, ohhh, ohhh Are you happy now?
"Reality Dream Trilogy" is a Riverside box in exclusive release includes 6 CD with full lenght albums and many bonus tracks (live material and long out of print singles).
Songs / Tracks Listing
CD 1 - Out Of Myself (2003):
1. The Same River (12:01)
2. Out Of Myself (3:43)
3. I Believe (4:14)
4. Reality Dream (6:15)
5. Loose Heart (4:50)
6. Reality II (4:45)
7. In Two Minds (4:38)
8. The Curtain Falls (7:59)
9. OK (4:46)
Total time 53:11
CD 2 - Voices In My Head (2005):
1. Us (2:33)
2. Acronym Love (4:45)
3. Dna Ts. Rednum Or F. Raf (7:20)
4. The Time I Was Daydreaming (4:53)
5. Stuck Between (3:46)
6. I Believe (Live) (4:00)
7. Loose Heart (Live) (5:28)
8. Out Of Myself (Live) (3:42)
Total time 36:39
CD 3 - Second Life Syndrome (2005):
1. After (3:31)
2. Volte-Face (8:40)
3. Conceiving You (3:39)
4. Second Life Syndrome (15:40)
5. Artificial Smile (5:27)
6. I Turned You Down (4:34)
7. Reality Dream III (5:01)
8. Dance With The Shadow (11:38)
9. Before (5:23)
Total time 62:33
CD 4 - Second Live Syndrome (2005, 2008, 2009):
1. Volte-Face (Live) (8:47)
2. Conceiving You (Live) (3:39)
3. Second Life Syndrome (Live) (16:13)
4. I Turned You Down (Live) (5:05)
5. Reality Dream III (Live) (5:01)
6. Dance With The Shadow (Live) (10:00)
7. Before (Live) (6:08)
8. The Piece Reflecting The Mental State Of One Of The Members Of Our Band (3:03)
Total time 57:56
CD 5 - Rapid Eye Movement (2007):
Part One - Fearless:
1. Beyond The Eyelids (7:56)
2. Rainbow Box (3:37)
3. 02 Panic Room (5:29)
4. Schizophrenic Prayer (4:21)
5. Parasomnia (8:10)
Part Two - Fearland:
6. Through The Other Side (4:06)
7. Embryonic (4:10)
8. Cybernetic Pillow (4:46)
9. Ultimate Trip (13:13)
Total time 55:52
CD 6 - Rapid Eye Moevement II (2007-2008):
1. Behind The Eyelids (6:11)
2. Lucid Dream IV (5:00)
3. 02 Panic Room (Remix) (4:00)
4. Rainbow Trip (6:06)
5. Back To The River (5:00)
6. Rapid Eye Movement (12:37)
Total time 38:54
I recommend this box for every new fan of this great polish progressive rock band and every already fan that still don't own their old records. A must have!
Die texanische Band Balmorhea regt zu ausschweifenden Gedankenreisen an.
Schon mit den ersten Takten schlagen Balmorhea in der Luft einen Klangteppich auf, der sich langsam absenkt und alles Bestehende unter einer schweren, spröden Decke verschwinden lässt.
Ruhe kehrt ein. Der Horizont weicht zurück, das Land weitet sich. Dürres Grün gibt nach, beugt sich dem Spieltrieb des Windes. Du bist allein. Über sonnengegerbtem Boden wiegeln sich Wolken auf und rotten sich zu dunklen, hohen Türmen zusammen. Du hebst deinen Blick und erkennst, was du zu tun hast, die erhobenen Mahnfinger, sie fordern ein Innehalten.
Einsam, gottverlassen und bedeutungslos – so fühlst du dich in der Welt von Balmorhea. Und so schwer diese Gefühle auch wiegen, so hat ihre Musik gerade deshalb etwas ungemein Tröstliches. Endlich ist da kein Weg mehr, der schon einmal beschritten worden ist, endlich sind da keine Fussstapfen, denen es zu folgen gilt. Hier hegt niemand Erwartungen, denen du gerecht werden musst, denn niemand weiss, dass du hier bist.
Balmorhea reichen uns in ihren Liedern Balsam für die Seele, wir schmieren uns grosszügig damit ein und besinnen uns auf das Wesentliche, auf uns selbst.
Auf ihren Alben verpflichtet sich die Band um Rob Lowe und Michael Muller einer Mischung aus moderner Kammermusik und cinematischem Post-Rock, die neben Gitarre und Banjo vorwiegend auf klassisch hölzernen Instrumenten (Violine, Cello, Stehbass) zum Leben erweckt wird und dabei fast vollständig auf Gesang verzichtet.
Balmorhea (2007)
Rivers Arms (2008)
Tour EP (2008)
All is Wild, All is Silent (2009)
All is Wild, All is Silent Remixes (2009)
Constellations (2010)
Candor / Clamor (Single) (2010)
Live at Sint-Elisabethkerk (2011)
InVertigo - this means a blend of art rock and fine neo-prog, situated somewhere between complexity and catchiness, epic structures and radio affinity. InVertigo's songs mirror influences by progressive rock bands such as Genesis, Yes, Spock's Beard, Marillion, The Flower Kings or Porcupine Tree - but do sound completely different.
Symphonic compositions, multilayered arrangements, variations of key, tempo and rhythm, constant changes and surprising twists make up their songs. And yet: InVertigo make sure the songs' musical content prevails. Even though the compositions are usually quite long, the song itself and demanding but catchy melodies are the primary focus.
With their 2010 debut, 'Next Stop Vertigo', the five musicians from Germany's Ruhr area delivered a multifaceted modern prog rock album: the tight atmosphere and tension of songs such as the opening track, 'Vertigo', or the multi-layered 'The Night', put listeners under their spell at once. While 'Take Your Time' and 'Night On Broadway' offer a clear invitation to rock and roll, 'Saturday Evening' and the mini-musical-esque 'Special' are beautifully arranged longtracks that bear anthem qualities. The album was overwhelmingly well received by fans and critics worldwide and its first pressing sold out within less than 12 months' time.
Shortly after the release of 'Next Stop Vertigo', the band continued writing new songs and performing them live – either supporting progressive rock favourites such as Sylvan, Pure Reason Revolution, Fish or as guests to the renowned UK progressive rock festival Summer's End in 2011.
2012 sees the release of 'Veritas', an album full of prog rock gems such as the mysterious 'Darkness', the catchy but demanding 'Lullaby' – a song that's definitely not going to make anyone fall asleep! - the humorous but oh so true 'Dr. Ho' as well as two longtracks that are designed to leave you breathless: 'Suspicion' and the even more epic 'Memoirs of a Mayfly'.
Founded in 2003 on the ashes of ADN by Philippe Benabes and Didier Pegues, Eye 2 Eye finally released their third album on the Musea label in December 2011.
After "One In Every Crowd" (2006) and "After All..." (2009), nominated by the ProgAwards that same year, "The Wish" (2011) marks a watershed for the group that sign here its first concept-album, inspired by Oscar Wilde's "Picture Of Dorian Gray".
Neo Progressive and floydian influences from the early days, make way for a more personal identity, helped by the voice of Djam Zaidi, the flamboyant guitars of Amirouche Ali Benali, the swirling keyboards of Philippe Benabes and Elise Bruckert's magical violin, backed by the solid rhythm of Aymeric Delteil (Bass) and Didier Pegues (Drums & keyboards).
Here, all songs are strung together to form a single musical entity of more than 69 minutes.
The disk very well conveys emotion, romanticism, the darkness and the drama of the work.
The guitar sounds fantastic, with an Eastern touch and true mastery. The violinist print character and sensibility, and keyboards are very good. The latest is the new voice, somewhat rough, but melodic, very suitable for theatricality required by the concept.
The story of Dorian Gray is seeking both dark and light and only the contrasts of progressive rock music could pay tribute to this classical masterpiece!
Lose yourself in this mesmerizing London of the late XIXth Century...
Canadian composer and multi-instrumentalist Rick Miller made his debut effort as a solo artist back in 1983 with the new age production "Starsong", which shifted a highly respectable 30.000 units at the time.
He would follow up this venture with "Windhaven" in 1987, and his efforts "Interstellar Passage" from 1998 and the EP "No Passion, No Pain" from 2009 would continue exploring similar musical territories.
But after honing his craft working at Sound Design Studios in Toronto throughout the 80's and 90's, he wanted to have a go at his true musical love as well, atmospheric progressive rock inspired by artists such as Pink Floyd, The Moody Blues and Steve Hackett.
This lead to a flurry of releases following the start of the millenium:
"The One" (2003), "Dreamtigers" (2004), "The End Of Days" (2006) and "Angel Of My Soul" (2008).
These efforts gave Miller a good reputation, and in 2009 he was signed by Canadian indie label Unicorn Records. His first release for this label was the 2009 effort "Falling Through Rainbows".
Followed by "In The Shadows" (2011) and his latest release "Dark Dreams" (2012).
Look at me now, a shadow of the man I used to be
Look through my eyes and through the years of lonliness you'll see
To the times in my life when I could not stand to lose
A simple game
And the least of it all was the fortune and the fame But the dream seemed to end just as soon as it had begun
Was I to know?
For the least thing of all that was on my mind
Was the close at the end of the show
The shadow of a lonely man, feels nobody else
In the shadow of a lonely, lonely man
I can see myself
(Looking out of nowhere, looking out of nowhere)
But the sounds of the crowds when they come to see me now
Is not the same
And the jest of it all is I can't recall my name
But I'll cling to a hope till I can't hold on anymore, anymore
And for all the acclaim
I am all alone and I see as I look through the door
The shadow of a lonely man, there's nobody else
In the shadow of a lonely, lonely man
I can see myself
Born from a blizzard of horned cats, Crippled Black Phoenix bring you a twisted cinematic experience, handcrafted by a mercenary crew of musical outsiders, giving depth and gravity to regal songs about love, loss, tragedy and redemption.
Back in 2004, the then Electric Wizard drummer Justin Greaves (also of Iron Monkey, Teeth of Lions Rule the Divine) started recording songs and soundscapes he'd had in his head for several years using primitive recording techniques. Encouraged by good friend (and Mogwai bassist) Dominic Aitchison those ideas would become the bones of Crippled Black Phoenix. Other great compadres followed, Panthiest members Andy Semmens and Kostas Panagiotou, Nial McGaughey of 3D House of Beef and -(16)- amongst others and solo folk songwriter Joe Volk, who also fronts critically acclaimed heavy rock band Gonga, all stepped up to bring a variety of influences and skills to complete the line-up.
In 2006, during one of the hottest summers on record the band recorded their debut album in Bristol and signed to Invada Records (run by Portishead’s Geoff Barrow). During the recording process the old friends aligned and fully realized visions that had been pestering Greaves for the past few years.
The result is a collection of self penned endtime ballads, a dark hybrid that is the culmination of all the members’ eclectic influences. It is the first of a trilogy and deals with the timelessness of honesty and tragedies laid bare, featuring sordid tales from the pages of literary history combined with personal stories of contemporary loss and love.
Using a blend of modern amplified and Victorian era equipment, the band have produced a captivating, slow-burning sound that’s both archaic and modern at the same time.
Their fifth album "(Mankind) The Crafty Ape" is out now.
>>You utter bastards. Yes, I'm looking at you, Crippled Black Phoenix. Members of Iron Monkey and Mogwai? I was expecting taut, hardcore-influenced post-rock. This is prog rock. Not just any old prog rock, either: it's a bloody concept album ('a series of facts and stories', apparently) in three acts - recorded in a chapel, no less! Gaah. OK, so (Mankind) The Crafty Ape is about as proggy as you can get this side of The Old Grey Whistle Test. And, if you're going to make a prog album, you may as well go the whole hog. Crippled Black Phoenix have certainly done that. Kicking off with a voice electronically distorted almost beyond recognition and bombastic trumpet blasts, the first chapter - 'A Thread' - creates an ambient menace akin to that of a old English horror film from the Seventies, all church bells in the distance, synthesisers and heartbeats. Close your eyes, and this could be the alternative soundtrack to The Prisoner. Even within that gloomy aesthetic, though, the mood ranges considerably. 'The Heart of Every Country' is languorous and slightly mournful, 'Get Down and Live With It' spiky and brittle, unwinding into a long guitar instrumental, and 'A Letter Concerning Dogheads' a claustrophobic slice of grunge rock. Chapter 2, 'The Trap', however, kicks in with more verve straightaway, with the Muse-esque 'Laying Traps' - which culminates in a surprising and unexpected ending - and doesn't let up: 'Born in a Hurricane' and 'Release the Clowns' are both very different but cracking little rock songs: although, given the pedigree of the band members, it's the kind of thing you'd almost expect them to crank out in their sleep. One short mariachi-style instrumental later, and we're into the the third and final chapter, 'The Blues of Man'. You'd think this would bring it all back together: drawing the disparate threads from the two previous sections together. Instead, it opens up new strands, slowing to a dirty blues crawl and entering rock ballad territory. It's only really the closer to the piece, the 15-minute (and awesomely-named) 'Faced With Complete Failure, Utter Defiance is the Only Response', that it comes alive again, with the song proving to be a post-rock epic, building and building, slowing, then building and building to an inspired crescendo. It's a superlative end to the album, and one that is likely to be a utter monster in a live setting. This is a massive, sprawling piece of work - and that's its blessing and its curse. It's epic, layered and rewards repeated listens - but occasionally meandering and unfocused. Only the mid-section really feels like a cohesive whole, and the opening three songs of the third chapter could easily be excised with little lost, as all they really do is kill the momentum built up by part two. That's not to say it's not full of great songs - it's just not the case that they all belong on the same album. Even if it is a bloody prog album.<<
Really like this review although the writer seems to be not that much into Prog.
This is the full album!
Discography:
A Love of Shared Disasters (2006)
200 Tons of Bad Luck (2009)
The Resurrectionists / Night Raider (2 CD's) (2009)
I, Vigilante (2010)
(Mankind) The Crafty Ape (2 CD's (2012)
Every time I think of you
I always catch my breath
And I’m still standing here
And you’re miles away
And I'm wondering why you left
And there’s a storm that’s raging
Through my frozen heart tonight
I hear your name, in certain circles
And it always makes me smile
I spend my time, thinking about you
And it’s almost driving me wild
And there's a heart that’s breaking
Down this long distance line tonight
I ain’t missing you at all
Since you’ve been gone, away
I ain’t missing you
No matter, what I might say
There’s a message, in the wires
And I’m sending you this signal tonight
You don’t know how desperate I’ve become
And it looks like I’m losing this fight
In your world I have no meaning
Though Im trying hard to understand
And it's my heart that’s breaking
Down this long distance line tonight
I ain’t missing you at all
Since you’ve been gone, away
I ain’t missing you
No matter, what my friends say
And there’s a message that I’m sending out
Like a telegraph to your soul
And if I can’t bridge this distance
Stop this heartbreak overload
I ain’t missing you at all
Since you’ve been gone, away
I ain’t missing you
No matter, what my friends say
I ain’t missing you, I aint missing you I can lie to myself
And there's a storm that's raging
Through my frozen heart tonight
I aint missing you at all
Since you’ve been gone, away
I ain’t missing you,
No matter, what my friends say
Aint missing you
I ain’t missing you, I aint missing you
I can lie to myself
I ain’t missing you
I aint missing you
Gekannt haben sich die beiden schon länger. Japan, die New-Wave-Pioniere, bei denen Richard Barbieri einst aktiv war, übten Einfluss auf Steve Hogarth aus. Der wiederum ist Sänger von Marillion, die 2001 einige Konzerte mit Porcupine Tree spielten, jener Progrock-Band, in welcher Richard Barbieri seit 1993 aktiv ist. In einem nächsten Schritt lud Hogarth den Keyboarder und Komponisten ein, auf seinem Soloalbum mitzuwirken.
Und schließlich stellte Barbieri die Möglichkeit einer Zusammenarbeit in den Raum. Im vergangenen Jahr Jahr fand sich die nötige Zeit, das Ergebnis lautet "Not The Weapon But The Hand".
Verwirrend? Nur auf den ersten Blick.
Eine musikalisch gewachsene Freundschaft, so könnte man es vielleicht nennen. Die beiden verstehen sich. Barbieri lieferte die Instrumental-Vorlagen ab, Hogarth verinnerlichte sie. Was dabei herauskam, könnte Anhängern von Porcupine Tree und Marillion gefallen. Muss aber nicht.
Denn mit Rock hat das Projekt nur bedingt zu tun. "Not The Weapon But The Hand" ist eine leise Platte. Möglich, dass genau deswegen der ein oder andere genau hinhört. Die Stimmung zwischen Träumen und Frösteln intensiver wahrnimmt als im musikalischen Alltag. Die natürlichen Instrumente nehmen Gastrollen ein, selbst wenn sie mit Leuten wie Danny Thompson (Kontrabass) oder Chris Maitland (Schlagzeug) durchaus prominent besetzt sind. Der federnde Puls von "Naked" oder der sich in den Vordergrund spielende Refrain von "Only Love Will Make You Free" bilden die Ausnahme.
Ambient, Klanglandschaften, strukturelle Freiheit, das sind dominierende Begrifflichkeiten.
"Es ist nicht die Waffe, welche den Schaden anrichtet. Es ist derjenige, in dessen Händen sie liegt", so die Aussage hinter dem Titel. Es geht um Liebe und Angst, um Gedanken, die sich in der Weite des Universums verlieren. Richard Barbieri und Steve Hogarth malen Bilder, in denen sich Gefühlswelten nicht nur spiegeln, sondern auch auf ihre Daseinsberechtigung pochen. Ein Erlebnis, das fordert, ohne zu überfordern. Oder, um es mit einer Abwandlung des Titels auszudrücken: "Es sind nicht die Töne, welche eine Emotion erzeugen. Es sind diejenigen, in deren Händen sie liegen."
Den Bonus Song "Intergalactic" kann man hier gratis runterladen.
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